(B1 - In Search of the Unknown - Becomes the remains of the post-Beastman War/pre-Immortality stronghold of Halav (Rogahn), Zirchev (Zelligar), and Petra (Melissa). Names changed by the Imperial scholars to avoid problems with the native populace. Also, "evil" and "pagan" idols were just those that the Empire didn't recognized an thus denounced.)
The Quasqueton Site was the first site to be formally studied once the Empire of Thyatis took control of the Traldar region. Unfortunately, many of the techniques used have proven to be flawed and the passing of time have shown these flaws to a great extent.
More telling, perhaps, is that the political realities of the time greatly influenced the research to fit pre-determined outcomes or, is some egregious cases, false reporting or altering of the basic findings. Be that as it may, there is still value to be found in the original report if read with such understanding and an eye attuned to the possibility of alterations of an Empire not wishing to reinforce the traditional legends of a conquered people.
When reading through the background report prior to the initial research data, one can immediately perceive a mix of both ignorance and misunderstanding of the Traladaran oral history of the Song of Halav. One must remember, however, that the time period in which this report was made was in the very early years of Imperial occupation. Although the Song of Halav had been in written form (by Thyatian clerics no less), it is apparent that those involved in the Quasqueton research had only passing familiarity with the Song. It is, therefore, not surprising at some of the opening statements such as: "The deeds and adventures of these two characters were never well known, since they both kept their distance from civilization..." and "Some say...that their motives were based on greed and some kind of vague (or chaotic) evil."
It is not entirely clear whether the scholars misinterpreted the names of Halav (Rogahn) and Zirchev (Zelligar) or made the change on purpose. There is insufficient data to make a determination one way or the other. However, a case could be made in supporting either theory. It is our collective opinion (and only an opinion) that it was a combination of translation error and an unfamiliarity with the popular legends.
The name "Quasqueton" is an oddity in and of itself. It fits none of the linguistic modes associated with any of the spoken and/or written languages of the area. It has been accepted as not being a complete fabrication of the original scholars as several recovered artifacts have been inscribed with the name. What the name means or the origin of it remain, at this time, a mystery. Further linguistic analysis will be provided later in this study.
It is not the intention of this study to reproduce the data found in the original report; however, there are a few items worth commenting on as it relates to the Song of Halav (mostly artwork - the Quasqueton site contains, by far, the greatest amount of ancient artwork created contemporary with the time period in which the events with which we are concerned):
Room XXIV (Commonly referred to as Petra's Chamber) contained a small 3' x 4' tapestry showing a "robust warrior carrying off a beautiful maiden in a rescue scene set in a burning village, with a horde of ominous-looking enemies viewing from afar. Embroidered in gold cloth at the top of the scene are the words, "Melissa [Petra - a common misinterpretation in the early years of Thyatian-Traladaran contact], the most dearly won and greatest of all my treasures". Although it is hard to prove what the landscape looked like over 2000 years ago, the river and hills in the scene bear a striking resemblance to the area surrounding the modern day town of Krakatos. Due to recent help with members of the Karamikan School of Magecraft (now headquartered in Krakatos), it has been suggested, though not proven, that this was the town ruled by Petra herself. The evidence is far from absolute and some of our members hesitated to include such speculation in this study, but in the end it was determined that it was relevant enough when considered along side the "Melissa/Petra Tapestry".
Room XXV (Halav's Chamber) has, along with room XXXIX (Museum - detailed below), some of the few outstanding scenes from the life of Halav, assuming one accepts that is is actually Halav shown. Four large (6' x 8') tapestries show scenes from the life of the same man found in the tapestry mentioned above: "A dragon being slain by a group of warriors, with one standing prominently at the front of the group, thrusting the killing sword into the dragon's neck; a great battle in a mountain pass, with a small band of fighters led by a great wizard and a single hero putting an entire [beastman] army to flight; a warrior and a maiden on horseback against a backdrop of mountains, holding hands with joyful expressions; and a depiction of a hero and a wizard joining in a firm handclasp on a deserted hilltop, with only a sunset in the background." The depiction of scenes from the Beastman Wars (tapestry #2) is a common theme in many ancient Traladaran artworks, but the presence of the three principle individuals in that and the other tapestries make it commonly accepted that it is the three Traladaran heroes.
Room XXVI (Trophy Room) (Connection between dragon paws, above tapestry, and mumified black dragon paw found in the ancient Traladaran tomb from DDA4 "The Dymrak Dread".)
Room XXXII (Advisor's Chamber) (Full color painting of Halav and Zirchev...and SIGNED by them. Proof of actual historical personages and not just legendary figures? Or forged fake?)
Room XXXIX (Museum) (Frescoes from the life of Halav and Zirchev.)
(Insert disclaimer that nothing here proves without a doubt that Halav, Zirchev, and Petra lived here, but the evidence is intriguing.)