Chapter 90.1 Productions

I would also like to say that at this point in time, the line of this artifact has been fully developed not only by me, but by a couple of marketing people. They are a couple of muggles living in London, the Vins, Gloria and Trevor.

They signed a rather rigid contract of employment and now work for me unofficially until the day they die, with no right to talk about it to anyone but me. An elaborate contract, really, with a lot of little details and assumptions and things you can get burned for without thinking it through.

They did it in exchange for the chance to have children together. Simple medicine is not yet capable of such delicate manipulations, but for magic their problems were solved with a few diagnoses and a few healing charms from one of the books bought in Germany. One hour of trance work and four restorative seals each.

Now the last of the artifacts was simply called the Goblet of Memories. The appearance of the chalice has been carefully designed to look old, but at the same time not repulsive in a tasteless way.

It is quite heavy (weight — three kilograms), but again, it feels a certain solidity, reliability and fairy tale with a halo of mystery. All around the circle there are narrow rectangular slots for crystals where the leg joins the bowl, but they are protected by metal curtains, and the crystals themselves are fixed by pressing, like a flash drive in a smartphone.

There are ten slots in total, just like in "Casket," but this is where the cardinal differences of this artifact begin. The "Cup" is both a complex player with many functions and a pensieve, only memories must be placed in special empty crystals. The empty crystal is transparent, but when a memory is placed in it, the crystal turns silvery foggy.

In the bowl of the cup is a crystal ball, from the visible upper hemisphere of the ball and projected three-dimensional image. But not only memories, you can switch the mode, getting the standard "addict" visualization "Windows Media Player", or something else, because there is just a sea of effects: I managed to find an old runic scheme of illusions for children's artifacts — nightlights, which embody only positive "live" images of nature, animals, oceans, or some phantasmagoria.

I didn't really understand where the images came from, but the inadmissibility of traumatizing "content" is intentionally built in. So in addition to just playing music, wealthy wizards will be able to view their good memories. Yes, I have attached a block of restriction of "depressive" or "painful" memories to the main structures of the hieroglyphics — I don't want my brainchild, conceived as something bright, bringing smiles to people, to turn into an instrument of torture and a cause of suicide.

By the way, yes, pensieves are very rare and valuable these days in Britain, and in Europe in general, because they are not for sale. But also my "cup" is deliberately not replaceable, and it is impossible to count crystals without my "equipment". I do not order a promotional "cup" because it costs five hundred rounds of gold. Agree, if the prices for the pendant and jewelry box are called expensive, then what can we say about the cup?

Here the customers come to the modernized and expanded for the future store, and there, behind the enchanted glass, a magnificent goblet, playing gold patterns (base — bronze, covered with a millimeter of gold) thanks to special lighting, attracts general attention.

Some will be deterred by the expensive look alone, but on the contrary, someone will be attracted, because I will make the cups personally and only to order. Now I have ten pieces ready, four pieces will be in the store under the powerful protection of seals, the rest I will send as needed.

All in all, in a week and a half, I have accomplished a lot with four wizards. Gwyneth found four wizards who met my requirements and I hired them permanently, and I gave my maid a pendant and crystals as a gift.

With the help of the potion masters and two other wood, stone, and metal craftsmen, we built a substantial workshop with two underground levels, which I covered with strong barrier techniques that could only be accessed by signing a special contract. In the basement, I placed a very "lumpy" version of the Sphere, sharpened only for growing Lollipop-class crystals.

And on another underground level, literally in a day, was organized greenhouse with artificial lighting to grow the most popular herbs. It's time to move to self-sufficiency — that's what one of my accountants told me, and I totally agree with him.