: During her lifetime Kona was many things to many people; although best remembered by the later Lilitai as a capable dramatist (especially in her portrayal of the legend of Atvôdslefa
) her contemporaries thought of her mainly as the leader of the Mitrajethíasa, a ring of conservative terrorists who sought to advance the interests of the former Ksreskézaian Empire within the new Lilitic culture. She was responsible for the attempt on Gleméa Haidtúa
's life in late 1 lilpo, and at the time went by the name "Kowako Tuktango" (instead of her original name, "Kowaka Tuktanga"), which the mainstream Lilitai thought to be borderline blasphemy.
After the events of the Battle of Globkhro, her demeanour softened somewhat and the Mitrajethíasa all but dissolved. She moved on to drama, returning to her roots as one of the Fertinenivíasa
, and continued to be a vocal supporter of the value of the Ksreskézaian viewpoint in Lilitic art, writing many scathing critiques of works that she felt were too quick to discount the perspective of the Oksine. She was particularly sceptical of many of the writings of Reséa Chúkotía
, as well as those of her own cousin Atsha-Sithéa Gazdattía
, but often found a sympathetic ear in Íora Chúkotía
, who had criticized Sarthía right from the beginning.
Kona migrated to Illera
in 676, three and a half years after the colony's founding. She brought her troupe and students with her, starting an acting school in the heart of Koitra, which became solely responsible for putting on the pageant of Alestéa on Illera. In her last years she became even more eccentric, christening the playhouse to be a temple to Alestéa in 679, and preaching sermons to Shúthildai about motivation, independence, and competition, still, in her own way, providing a distinctly Ksreskézaian voice in a culture that was otherwise collaborative and largely communist.
Like many others, Kona was claimed by the Illeran Plague