Jean-Pierre Accardo (ジャンピエール・アッカルド Jyanpiēru Akkarudo) commonly referred to as Jean (ジャン Jyan), was a famous early eighteenth century poet and playwright from Lotto Valentino and the narrator of the fifteenth novel 1710 Crack Flag.
Jean is easily susceptible to flattery, as is evidenced by his early interactions with Lebreau. Though he tends to be flustered when praised it is clear he thrives off attention, seeking out and taking comfort in flattery. In his younger years, Jean appears to be uncomfortable mingling with the aristocracy. He has expressed a much more open and humorous side when with Maiza, whom he often teases or jokes with; he laughs easily when he is in Maiza's company.
Ten years later, Jean appears to have become very self-critical and self-aware. He firmly believes that his sins cannot be forgiven (and that they deserve no forgiveness). He is full of regret and a despair different to the despair he had experienced as a younger man.
By 1707, Jean has achieved some degree of fame for his plays, and it is this fame that leads the Avaro family Head to invite him to a party at the Avaro Manor. Standing out in the crowd of aristocrats due to the lower quality of his clothing, Jean is rather uncomfortable until he is approached by his friend Maiza Avaro, the son of the noble hosting the party. Jean addresses him as Aile, and Maiza reluctantly asks Jean to call him by his birth name instead, given their company. Jean lets out a “hearty laugh” and claps Maiza on the back, teasing him by bringing up how, a couple years ago, he had been asking everyone to call him Aile in a fit of rebellion against his parents.
Maiza acknowledges this to be true, and admits that he even considered getting disowned so he no longer would have to carry the name Avaro. He asks Jean if this is his first time at an aristocratic party, noting his rather frightened appearance, and Jean sighs and says that he would probably have left if it were not for Maiza's presence.
As Jean contemplates leaving, he is approached by a young man dressed like a scholar who identifies him by name with an excited smile. The man apologies for not introducing himself immediately, having forgotten his manners in his excitement at meeting the playwright he respected so. He introduces himself as Lebreau Fermet Viralesque, and explains that he is the assistant of an alchemist with close ties to the Avaros [Second Aside]. Maiza brings up Begg Garrott, and Lebreau says that Begg, his "fellow student," is currently in a meeting with Maiza's father. In the meantime, Lebreau is looking after Czeslaw Meyer, a boy of six who pokes his head out from behind Lebreau's leg. Czes introduces himself timidly, looking up as Maiza with fear. At this, Jean "laughs uncontrollably," jibing that Maiza is scaring the boy.
Maiza ignores Jean and kneels down, introducing himself and Jean to Czes. He comments that Lebreau seems to be a fan of Jean's work, and Lebreau smiles, exclaiming that he is humbled to meet the esteemed playwright and that he greatly enjoyed Jean's latest play, The Stone Pillar of Dorcho Street. Jean demurs and blushes with embarrassment. Lebreau says he has also read Jean's first poetry collection, the poems of which were so creative he could not believe they were Jean's debut works, and continues to flatter him. Jean insists, embarrassed, that flattery will get Lebreau nowhere, but allows Lebreau to flatter him anyway. Maiza notes that Jean appears extremely happy. They are interrupted when Maiza asks Czes if he would like something to eat. Czes asks for sherbet, and Maiza goes off in search of just that.
Jean, abandoned, desperately tries to think of a conversation topic when Lebreau asks him if he has heard of the Cafe le Procope, a popular establishment for creative types such as artists, poets, and playwrights. He suggests that Jean might like to pay it a visit, and Jean, flustered by Lebreau treating him like an actual Artiste, quickly puts down the idea, as he has no plans to go to Paris. In fact, he feels as if he will never be able to leave Lotto Valentino. Lebreau observes that despite Jean's feelings, his poems and plays are already reaching the outside world. His face burning, Jean changes the subject and asks Lebreau about himself, something he instantly regrets given his mixed feelings about alchemists. The conversation turns to alchemy, and during the conversation Jean admits that alchemy, such as the creation of gold, is akin to sorcery in his mind. Lebreau impishly suggests that a "first-hand look" might change Jean's opinion—of immortality [Third aside]. Lebreau claims that alchemy teacher Dalton Strauss has achieved immortality and tells the reluctantly curious Jean that he can arrange for them to meet.
The two sneak out of the party, accompanied by Maiza, Czes, and Begg, the latter of whom joins them a little later. As the group walks, Jean and Maiza talk about Dalton and Count Esperanza C. Boroñal's connection to him, as well as Maiza's brother Gretto and Gretto's sweetheart. Jean's joking eventually earns him a slap on the back of his head by an unamused Maiza. Soon, the group reaches the Third Library and Begg takes the lead as they enter, expressing shock that an someone unsociable like Lebreau wanted to bring people with him, and that the people would be Lebreau's favorite poet and Maiza Avaro.
Just as they are entering the library, the group encounters a trio of young alchemists (Huey Laforet, Monica Campanella, and Elmer C. Albatross) just leaving. Jean tries not to make eye-contact, but Elmer calls out to Maiza, calling him "Mister Aile." The two exchange pleasantries—notably, Elmer shows no fear in the face of the delinquent leader of the Rotten Eggs. Once inside the library, Jean asks Maiza who the 'kid' is; Maiza apparently does not know him that well—they just happen to run into each other on the streets now and then.
The quintet finally meet Dalton Strauss, an elderly man who has a prosthetic hook in lieu of a right hand. Dalton's appearance is reminiscent of a pirate, and Jean breaks out into a cold sweat at the sight of him. Lebreau greets him, and Dalton turns to Maiza and Jean, recognizing them as "the eldest son of the Avaro family" and "the only poet in all of Lotto Valentino." Maiza immediately becomes hostile and aggressively confronts him, accusing him of being a fraud. Dalton reprimands him, and tells Begg to cover Czes' eyes.
Dalton raises his right arm and tears out his own throat with his hook. A few moments later, he begins regenerating. Maiza and Jean watch without comprehension, both dumbstruck. In contrast, Lebreau and Begg each comment on the scene before them—Lebreau, it seems, has already witnessed this miracle; Begg has not, but he had heard of the rumors. Once Dalton fully regenerates, he turns to Maiza and Jean and asks them if they are still curious about immortality. Jean, inspired by what he had seen and conflicted by his own personal feelings on immortality, would go on to write a tragedy about an immortal man and his tortured existence. The play proves a success and would bring him even more fame. Jean's guilt at leeching inspiration for his own benefit is assuaged by Lebreau, who tells him to be proud of his accomplishments [see the Fourth Aside].
Two years later, in the autumn/winter of 1709, Jean's new play based off Lebreau's confession to him is set to be performed in a month. Lebreau brings him to the harbor, where a black Dormentaire ship with a military design has been sighted. Jean turns his back to the gawking townsfolk and asks Lebreau why he wanted Jean to see it. Lebreau replies that he would never try to influence Jean's creative work and denies Jean's assumption that the ship is a warship. Jean, who can clearly see dozens of gunports on the ship's hull, scoffs in disbelief. Lebreau explains that the ship is actually a transport vessel, its gunports merely for defense.
Jean wonders why the king has not taken custody of such a ship, and Lebreau replies that the ship's owner, the extremely wealthy House of Dormentaire, has already 'donated' multiple warships to the kingdom's benefit. At this Jean snidely says that just hearing that makes him want to write up some dirt about the FAmily.
Lebreau is glad to know that he has inspired Jean, and Jean's spirits lift. After two years since they met, Jean now counts Lebreau as one of his closest friends, an 'inextricable' part of his life. He thinks it is likely that he has been spending more time with Lebreau (whom he meets at least once per month) than Maiza, who has been busy with his alchemy studies under Dalton's tutelage. Jean is still practically ignorant when it comes to alchemy, which suits him fine. He is more focused on his art, which has become more refined due to Lebreau offering him regular inspiration. At first, Jean had been reluctant to use Lebreau's ideas due to feeling that he was too dependent on Lebreau, but Lebreau's constant praise tempered his insecurities. Jean learns that Lebreau and the alchemy workshop he works for are likely going to settle in Lotto Valentino for good, due to the war. [Fifth aside, later].
Jean's new play is released to critical acclaim in the late autumn of 1709, and spends his days attending parties hosted by his patrons in pursuit of praise, and heading home drunk to try and write another story [as described in the Sixth Aside]. At some point, he and Lebreau find the time to stand in front of the theatre and watch the throngs crowding around the entrance waiting to see his play. Lebreau praises Jean's writing and with feeling emphasizes that though the play (which is based off his eyewitness account of the witch hunts in Huey's village) will not wash away his own sins, he hopes that it will heal the hearts of those affected by the hunts. He tells Jean to be proud of himself, and Jean silently relishes the praise while brushing the compliment off. His thoughts turn to his other play, almost finished save for a conclusion. He asks Lebreau if the new play ought to be performed in Lotto Valentino at all, worried that his friend will suffer consequences from it. Lebreau assures him not to worry, and the two discuss the potential conclusion that Jean is struggling over. Lebreau states that Jean's words can change the world, at which Jean morosely reminds himself that he is a hypocrite: he does not really write for the sake of others, but for himself. He is a hypocrite.
Several months later, in 1710, Jean hears voices outside his residence and opens the door to find Elmer and Carla outside. It turns out that Carla has come to complain about his newest play, accusing him of commenting on the House of Dormentaire. He and Lebreau had expected the Dormentaires would make inquiries and had planned accordingly; acting on Lebreau's suggestion that he buy himself time, Jean informs Carla that although some of his characters were modeled on the Dormentaires, but aside from that they have no relation to his work. Carla leaves dissatisfied, and Elmer asks Jean if the new play had been based on a real life event. Jean lies and says that he used 'multiple sources' and 'conflated the tale', worried that the church will hunt him down if the truth is revealed. In the [Seventh Aside], an older Jean corrects himself and says it was more likely he simply did want to admit that the idea for his acclaimed play was not his own. Elmer notes that Jean's smile is forced, and Jean freezes, feeling exposed. Over the next several days, Jean continues to edit the script, little by little, until it is an entirely new story.
Once Jean sends the players at the theatre his final draft, he disappears completely with no word to Maiza or the players about his whereabouts. The 'final draft' of the play is completely different from the first iteration that was performed in the autumn of 1709: no longer does it lay Huey's past bare upon the stage—this time, it entreats with Monica's past. The Dormentaires ban all performances of the play, and send out an order for Jean's arrest. It is later revealed in the narrative that he had gone into hiding [tenth aside] at Lebreau's residence.
An unclear amount of time later, in a 'certain month' of 1710, Jean visits Monica in her cell aboard the Dormentaire ship, wearing the attire of a Mask Maker and carrying a large sack that smells sickeningly sweet. He apologizes for the play, and then lies that he has come to rescue her on the orders of Huey Laforet. The plan is to fake Monica's death and burn down the Dormentaire ship, leaving behind a mess of pork, human bones and women's clothing (all of which is in his sack) in her cell. They are to escape on different rowboats, and then Huey will take Monica and flee Lotto Valentino to start a new life. Referring to his play, he comments that Huey did end up setting fire to Lotto Valentino like he had in Jean's play. In truth he had not met Huey, and had only mentioned him to earn Monica's trust (Lebreau's suggestion). Coming to rescue her had been Lebreau's idea—in order to avoid Huey and the Mask Maker's murdering him, Jean could rescue Monica and prove he had no quarrel with them. The rescue would ultimately prove to be a failure, ending in Monica's death. As the Mask Makers boarded the smaller ship from the Dormentaire vessel they had used as transport, Jean and made it back to the mainland undetected by stowing away on the Dormentaire vessel itself.
The day after, Jean asks Lebreau despondently why Monica took her own life (unaware of the real events that had transpired aboard the deck), and what would become of Monica's child. Lebreau responds that with Carla's permission he will take care of the child himself, and that he eventually plans to tell Niki of its true parentage. The idea that Monica had left behind hope in the world with the birth of her child consoles the 'heartbroken' Jean, and is (he thinks) the only thing keeping him sane after the chaos.
During the ten years following Lebreau's departure from Lotto Valentino, Jean comes to realize the truth of his friend Lebreau's malice and deceit. In 1721 (see Trivia), Lebreau visits Jean at his place of residence, telling Jean that he had come because he was curious as to what sort of 'impudent life' Jean lived after he realized the sins he had committed. Filled with despair, Jean resolves to write down what had transpired years ago, and to take his own life. He spends the next several days writing his accounts, during which time his son is born.
In the end, Jean never committed suicide. Instead, he lived until he was ninety-eight years old and died surrounded by his grandchildren and great-grandchildren.
"The Accounts of Jean-Pierre Accardo"
In the year 1721 (ten years after Lebreau's departure; see Trivia for notes) Jean-Pierre took to writing his accounts after a surprise visit from Lebreau. In his accounts, he describes the "unbelievable things" he has witnessed in the early 18th century, including the actions taken by the alchemists in pursuit of immortality.
The Accounts themselves are a mixture of the bulk of the novel itself and Jean-Pierre's commentary, which cuts in after every few chapters of the story. The commentary essentially 'halts' the reader; Jean-Pierre pauses the narrative to comment or reflect on what the reader has just witnessed. The interruptions are simply titled as 'The Accounts of Jean-Pierre Accardo'; for clarity's sake they are labelled here with reference to their subject matter.
The Accounts (making up thousands of parchment sheafs) were hidden in a large chest in the attic of the Accardo residence in Lotto Valentino for almost three centuries before their discovery in 2003 by his descendant.
- First Aside
Click "Expand" for the First Aside.
Jean-Pierre prefaces his Accounts with a letter to the reader, imploring those who find the Accounts a difficult read to immediately put them back and forget them entirely—or, if the reader so wished, to burn them. He explains that he is only writing the letter to "ease his own conscience." He informs the reader that they ought not to mistake him: he has no intention of committing suicide, for suicide goes against the will of God.
- Second Aside
Click "Expand" for the Second Aside.
Right after Fermet introduces himself, Jean-Pierre pauses the narrative to elaborate upon his first meeting with the "novice alchemist." He writes that though he found the way Fermet hid his eyes under his bangs suspicious at first, further conversations with him put Jean's mind at ease. "He was very easy to talk to," Jean says. "Like an old friend." He declares that this was his first meeting with an alchemist, as he had never sought them out before out of disinterest.
He then goes on a tangent, testifying to the "shameful secret" of Lotto Valentino, one so terrible that it is one of the reasons he is hiding his writings so that only future generations will have access to them: the commoners' monopoly of drugs and counterfeiting, and the abuse of children. He then states that all the citizens of Lotto Valentino were "guilty of a certain crime," of the "same sin." Jean confesses that though he did not directly take part in the criminal activities he was absolutely aware of them, including the truth that many children were subjected to "unimaginable horrors" for the purpose of drug manufacturing. "And yet," he moans, "I did nothing."
This was the "same sin" that all Lotto Valentinians were guilty of: Their complacency. Their inaction. He goes on to write that the commoners had attempted to blame the alchemists for these crimes, and again, though he knew that innocents would as a result be "crushed or broken," he still did nothing. It was this guilt that led him to stay away from the city's alchemists.
- Third Aside
Click "Expand" for the Third Aside.
Jean halts the story once again, this time right after Fermet tells him that immortal alchemists walk the streets of Lotto Valentino. He confides that he has assumed Fermet was joking, but then, Fermet did not seem like the type for "idle pranks." Jean recounts what followed: Fermet names alchemy teacher Dalton Strauss as an example and offers to arrange for Jean to meet him. Jean asks, "Why me?" Fermet replies, "Because I want someone with a clear view of the world to know of the truth." Jean confesses that he "was willingly played by him" and then addresses the reader directly.
- Fourth Aside
Click "Expand" for the Fourth Aside.
Jean begins with the conclusion: Maiza became Dalton's student on the spot. Jean writes that at the time, he was in shock that Maiza would stoop to such a level. That Maiza, who wanted a long, full life, would chase after something as "fleeting and self-indulgent" as immortality. But in hindsight, he can see why Maiza might have wanted to. He muses that Maiza felt powerless in Lotto Valentino, and seized upon immortality as a chance to escape the city. Despite Jean's previous unsavory descriptions of immortality, Jean admits that he had wanted to kneel before Dalton and beg for the ability to live forever. However Jean is now relieved that he did not, believing that as an immortal he would have stagnated and remained stagnant for eternity like a stone—no, less than a stone, Jean amends, a shadow of an existence. The instant he turned immortal he would no longer be able to write.
Jean confesses that witnessing Dalton's regeneration made him feel special at the time (a feeling he now calls mistaken), and pinpoints that incident in the Third Library as one that changed his destiny forever. He scathingly calls himself a coward, and continues on to say that that moment inspired him to write a play about an immortal man, and the "melancholy and irony that haunted his immortal life. The tragedy of a man..." The play became a success (by 'coincidence', he says) and Jean's fame grew even more. He had taken inspiration from something that was not his and turned it into story form "for my own benefit." Jean bitterly concludes that he "was a coward who drank of the sweet nectar without exposing himself to danger."
He writes that Lebreau had come to Jean and assured him that he should not feel guilty. No, he should feel proud. Jean latched onto his words, accepting them out of fear that if he did not he would be "broken to pieces," with the excuse that Lebreau's kindness should not go to waste. Jean wretchedly considers that back then he was already a broken man. By encountering immortality he freed himself from stagnation, but found himself 'unable to stop.' The fourth aside ends vaguely, with Jean alluding to 'the actions,' 'the sin' that led to his self-hatred and the writing of his Accounts, and alludes to a woman who the reader will learn is Monica Campanella.
- Fifth Aside
Click "Expand" for the Fifth Aside.
This aside does not appear immediately after the harbor scene—it shows up seven pages later. Jean muses upon Lotto Valentino and its treatment of the Dormentaires, as well as the nature of the city itself. He writes that his younger self hated Lotto Valentino and longed to be in the 'outside world,' but at the time he did not recognize that it was hatred at all. Referring back to the harbor, he says that upon seeing the great ship, he had felt the 'illusion of an impending freedom,' and had been excited for the prospect of change and wonderment in the city—and, fueled by Lebreau's praises, believed that his own plays had the power to change the world. He notes ominously that instead his plays destroyed the worlds of a select few people, which he had never intended. This, he explains, is why he has left his Accounts. He calls it his "repentance and confession" and claims that if the secrets of his accounts are revealed during his lifetime he will commit suicide. He cannot forgive himself for his sins.
- Sixth Aside
Click "Expand" for the Sixth Aside.
After spending some time with Carla, Elmer, and Maiza in the narrative, Jean interrupts to the story to point out Maiza's 'unbelievable transformation' in terms of personality, and that he had wondered at the time whether his newfound gentle demeanor was all just an act. The main focus of the Aside, though, is on his latest play that had been released to critical acclaim in the late autumn of 1709. Invited to numerous parties he found ubiquitously tedious, Jean writes that he had attended them solely to hear his audiences' praise in person. His younger self had at the same time felt a sense of 'duty' to reveal to the public the 'hidden truths of the world', thereby enlightening them. He had taken pride in himself for not pandering to the public nor for 'selling his soul' except he had, moans the older and wiser Jean. He had sold the soul of another person instead for the sake of coin and praise. Jean then provides the reader with a simple summary of the play in question as well as how it had come to be: it was based upon the confessions of a tearful Lebreau, who had urged him to turn his eyewitness account into a play. Jean had been moved by Lebreau's tale, and had felt a sense of 'duty' to reimagine it so that the horrors of the witch hunts would not be forgotten.
- Seventh Aside
Click "Expand" for the Seventh Aside.
Jean recounts his encounter with Carla and Elmer on his doorstep in 1710 (as detailed in the Chronology section) and reflects on Elmer's comment regarding his forced smiles. Armed with the knowledge he has now, Jean reflects that he would have been wise to stop reworking the play, and to have given up when Elmer pointed out his fake smile. Had he done so, he might be at this very moment laughing with his family with no need to leave such a damning testimony of his sins. Perhaps he would be smiling genuinely. Jean concludes the seventh aside with a lament, for it is much too late now to fix the smiles he had destroyed with the actions he had taken at the time...including his own.
- Eighth Aside
Click "Expand" for the Eighth Aside.
Jean comments on Monica and Huey's predicament and the nature of time itself.
- Ninth Aside
Click "Expand" for the Ninth Aside.
Even shorter than the eighth aside. Jean summarizes Huey's accomplishment (recruiting close to four hundred members for his criminal organization in the span of only six months) in awe, noting that he had managed to achieve such a feat right under the noses of over a hundred Dormentaire delegates in the city. He reminds the reader that everything Huey had done was in selfishness.
- Tenth Aside (false)
Click "Expand" for the false Tenth Aside.
The tenth aside is as short as the last one, in which Jean momentarily discusses what happened after he went into hiding and what Huey and Elmer's plan was for Monica. He writes that after going into hiding, he was discovered by Niki and the next day kidnapped by Huey and Elmer. Jean alludes vaguely to 'things' that they did to him, but does not give any hint as to what they did exactly "for the sake of their reputations." The implication that they tortured him is clear. Afterwards, they forced to join the Mask Makers.
- Eleventh Aside (false ending)
Click "Expand" for the False Ending.
After Monica steps out onto the deck of the ship, Jean writes in his eleventh aside that this is the end of the story, and that the salient point of his accounts was not their fate but rather the amount of sins he had committed. His desire for glory had caused him to write plays based on partial information, and as such was partially responsible for the Mask Makers' existence. He had ended up reinforcing the beliefs of the House of Dormentaires and the Lotto Valentino residents rather than changing them. Jean reveals that he had altered the play for a final time, killing off the character modeled after Monica by having her die at 'Huey's' hand. He tells the reader that he would be thankful if the reader could clear Huey Laforet's name of the 'murder' but that it is not an official request, as it is entirely possible Huey's name has been forgotten in the reader's time. His real request is that the reader remember one thing. That "Monica Campanella found salvation in Huey Laforet."
The Hidden Accounts
The first eleven letters as summarized above were all easily accessible in the chest itself. The following letters were bundled together in a secret compartment inside the chest (under a false bottom). They contain the real truth of what happened to Huey and Monica.
- Twelfth Aside
Click "Expand" for the Twelfth Aside.
Jean curses the reader for having discovered the secret bundle of parchment, and asks the reader despairingly why they could not have simply abandoned the box to obscurity. He tells the reader that he despises them for learning of his own sins, but then thanks them for giving his life new meaning. With their presence, he is no longer a coward who fled to the last. He refers back to his statement in the first aside that he would never commit suicide and states that he had lied. Once the accounts are finished, he intends to do just that.
- Thirteenth Aside
Click "Expand" for the Thirteenth Aside.
Jean confesses that he had lied to the reader in his previous letters. The events he detailed in his tenth aside were largely false: Niki never found him, he never joined the Mask Makers and was never tortured by Huey Laforet. But despite his lies, he urges the reader to understand that he had been truly sincere in his desire to save Monica—and that he had been terrifyingly blind in his deep trust in Lebreau. It had been Lebreau who suggested the final alteration of the play, and most importantly—Jean had lied about Monica's survival. She had died, and he had as good as killed her. He invites the reader to curse him, he who had not even learned of the truth until years after her demise. He also reveals that Monica had been pregnant with Huey's child at the time of her incarceration.
- Final Aside
Click "Expand" for the First Aside.
Jean begins his final letter with Lebreau's full name, which he asks the reader to commit to memory. He explains that Lebreau had visited just days prior to this letter (in 1721), curious to see what life Jean led now that he had realized his own sins, and that in his despair Jean had determined to record the events that had taken place on parchment and then die by his own hand. He says that should the reader prove to be a descendant of his, they must beware the immortal Lebreau, and avoid him at all costs. He does not expect his sins to be absolved with his accounts, but hopes that his accounts will be able to prevent at least one person's involvement with Lebreau, for that will mean he has not died in vain and that he will be content. He thanks the reader that he despises, and reiterates that he wants the reader to remember that Monica and Huey truly did love each other.
"Seeing a miracle does not make one a saint." —The Accounts of Jean-Pierre Accardo (1710 Crack Flag, p. 50)
"I am not an ordinary man, either. I am nothing but a coward." Ibid.
"I do not presume to think that I will be forgiven, but I write these accounts in the hope that at least, in the act of your reading, she will find salvation." Ibid, p. 52.
- He believes in God.
- He was the son of a traveling merchant who had put down his roots in Lotto Valentino.
- As confirmed by both Dalton and the narrative, Jean was the only poet in Lotto Valentino around 1710.
- He was somewhat disgruntled by the fact that his poems (his main focus and true passion) were less celebrated than his plays, which he only wrote for the money.
- In the harbor in 1709, Lebreau addresses him as sensei in the original Japanese text.
- Known works include:
- At least one anthology of poems (bef. 1707)
- Several unnamed plays
- "The Stone Pillar of Dorcho Street" (bef. 1707)
- An unnamed tragedy about an immortal man (1707)
- A play unknowingly depicting the childhood of Huey Laforet (Released in 1709 and running until the end of the year; based off the accounts of Lebreau Fermet Viralesque)
- A play which eventually depicts the events surrounding Gardi Dormentaire's death and Monica Campanella's life in Lotto Valentino. (Released on the cusp of 1710 and running until its production is halted by the House of Dormentaire a few months later; based off the accounts of Lebreau Fermet Viralesque)
- Originally a tragic play about the elopement of unspecified nobles, this would be revised slowly over the course of many, many days, until it no longer resembled its first iteration. In its later form, the play would depict Monica's childhood instead.
- This version would receive one final edit: the conclusion was changed so that the character modeled after Monica would die at "Huey's" hands
- Originally a tragic play about the elopement of unspecified nobles, this would be revised slowly over the course of many, many days, until it no longer resembled its first iteration. In its later form, the play would depict Monica's childhood instead.
- A play fictionalizing the 1711 conflict between the Mask Makers and the House of Dormentaire (heavily implied to also have been based off the accounts of Lebreau Fermet Viralesque)
- It is slightly confusing as to whether Fermet's final visit to Jean took place in 1720 or 1721. The reader might initially believe that he visited Jean in 1720, since Jean describes Lebreau as "unchanged since ten years ago"—which should be 1710, since that is when the book is set. However, the next line reads "...In the ten years since [Lebreau's] departure," which one would typically infer to be the departure of the Advena Avis in 1711, making the year 1721.