#played the four characters in

[greatmuldini]

The Iron Harp

We’re all in prison together, Johnny, one way or the other.

Act 1

Outwardly, Joseph O'Conor's play is a simple tale of love and loss in times of war: set in rural Ireland in early April of 1920, the action takes place on the property of an English industrialist whose mansion has been taken over by a contingent of IRA volunteers. Their leader is Michael O'Riordan, a gifted poet-musician in civilian life and conveniently the peace-time manager of the Englishman's estate. Michael has recently been wounded in action; now blind as a result he is no longer on active duty but still responsible for an English prisoner of war. Being a man of his word, Captain John Tregarthen has made no attempt to escape, earning Michael's trust and eventually his friendship. He also earns the friendship and love of Michael’s cousin Molly Kinsella, with whom he spends long days roaming the extensive grounds of his idyllic prison. Dreaming of a future life together, the lovers are oblivious to the feelings of their “best friend” – who ends up sacrificing his love for Molly in what he hopes will be a lasting gesture of selflessness only to find that Fate intervenes, with devastating consequences for them all.

Completing the quartet of characters is the dark and “indistinct” figure of IRA commander Sean Kelly, a dark and "indistinct" figure who emerges from the shadows to immediately assert his authority not only in military matters but - crucially, and disturbingly - in those of the heart as well. Specifically, it is the heart of Michael O’Riordan that Kelly claims to know better than O’Riordan himself. As a flesh-and-blood character Kelly is difficult to pin down: cold and calculating by his own admission, he expresses admiration for Michael's hot-blooded fighting spirit. Michael's own startled response to Kelly entering "like Nemesis himself" is ambiguous at best, and even his description of Kelly as a “good friend” comes on the back of a warning to Johnny that "he won't like you."

When Kelly tells Michael that he has never been wrong and does not know what it means to feel regret, the sense of foreboding is inescapable, yet Michael never seems to give in to the negativity emanating from his old wartime comrade who admonishes him to see his friends “as they really are” and not as “you want to see them.” Ironically, Michael refuses to see an enemy in John Tregarthen, but he is equally stubborn in applying the same criteria of honour, loyalty, and friendship to Sean Kelly, who seems troubled by this flaw in Michael’s character: "you love people too much."

Michael's emotional warmth stands in stark contrast to Kelly's impersonation of infallibility - which Michael seems to accept as a token of his friend's unassailable integrity. He continues to defer to Kelly's judgment when a messenger arrives with bad news from the front: three IRA fighters have been killed in skirmishes with British forces, and reprisals must be carried out. Twisting the metaphorical knife in the very real emotional wound, Kelly as the commanding officer nominates blind Michael to be the impartial instrument of God's justice. Forced to select three victims for execution, Michael all but collapses when one of the chosen names is that of Captain John Tregarthen.

Act 2

After he has persuaded Johnny to flee the country and reunite with Molly back in England, Michael is left alone to guard the now empty house. Blind and unable to defend himself, Michael is powerless against two marauding Black & Tans who break into the property and proceed to taunt and abuse the solitary occupant. It does not take them long to realize their victim is an IRA member rather than a civilian enjoying certain protections. Further violence is prevented only by the surprise return of Captain Tregarthen, armed and in uniform, who holds the attacker at gunpoint until Kelly and his entourage arrive to take the men away. Where any other human being would have expressed relief or gratitude at the discovery that the life of his friend has been saved, Kelly’s reaction is characteristically impassive, betraying, if anything, a degree of irritation at the unforeseen complication that has shown the condemned prisoner – the enemy – to be capable of compassion and self-sacrifice in saving the life of his friend. Human qualities that Kelly explicitly claims not to possess. As if to prove the point, he responds with the formal announcement of Tregarthen’s impending execution.

The order is to be carried out within three days, enough time for Kelly to travel to headquarters - and return with a firing squad. But first he must interrogate the captured Tans. While Kelly is thus occupied, Molly manages to convince the love of her life to take her with him. Johnny only agrees to the plan on the promise that Michael will convince Kelly to rescind the execution. If Johnny and Molly can make their way to Belfast on the early morning goods train, and from there to England, all will be well. Michael knows how to distract the guards, and Molly can bribe the train driver to let Johnny jump aboard. Three loud whistles will give the all-clear. With hopes of future happiness rekindled, Molly and Johnny each rush off to their respective tasks, and Michael is left alone with three empty glasses that he cannot see – a detail that does not escape Kelly’s notice as he re-joins Michael to formally accept his plea for clemency. Which he says he will duly submit to "the general," but in his estimation the chances of success are slim. "For God's sake, don't build up hope," he tells Michael before agonizing – to himself – over how to soften the blow for Michael: by bringing the execution forward and keeping it secret, he is certain he can spare Michael the pain and the guilt of having to witness the event.

Act 3

In the pre-dawn hours of the following day, Michael and Johnny are wide awake and waiting for the sentries to change and the train to whistle. Thinking the house empty and their enemies far away, they pass the time in a dreamlike state of high anxiety, reciting heroic poems and melancholy songs in whispering voices, so as not to miss the stroke of six to mark the end of their nightmare and the beginning of a new life – only to see Kelly standing in the door, with orders for Johnny to be executed at dawn, 24 hours earlier than they were told originally. Michael's world is falling apart, he pleads with Kelly, he begs him to show mercy, but an almost equally distressed Kelly reminds him that "I have never promised you hope." Johnny declines the comfort of a priest or minister and is led away to meet his fate offstage while, also offstage, Molly will be waiting in vain for the love of her life to board a train that will never arrive.

Left on stage for their final confrontation are Michael and his Nemesis, both knowing full well that nothing they can do or say will change what Kelly might term the preordained outcome of their efforts. To Michael's accusation of "trickery" (by which he means Kelly's surprise return before the agreed time), Kelly offers no subterfuge, no defence, and no evasion. Instead, he says, Michael’s agony is self-inflicted: it was, in fact, his own stubborn insistence on hoping against hope that has now led to anguish and pain. The only way for Michael to end all suffering, Kelly explains, is to give up hope. Unless he manages to see past the private pain of the moment and becomes a distant observer, Michael will forever be "tortured by hope."

Here Kelly is borrowing from the Conte Cruel tradition made famous by Edgar Allan Poe but named after a collection of short stories by the French symbolist writer Auguste Villiers de l'Isle-Adam. A useful definition of the genre is that it concerns "any story whose conclusion exploits the cruel aspects of the irony of fate." Not only does Kelly borrow the concept, and the title from Villiers' tale, The Torture of Hope, he even recounts the plot to underline his point:a hapless victim of the Inquisition escapes his prison cell only to stumble into the arms of the Chief Inquisitor. The lesson for Michael is that, like the victim, he keeps on hoping for release only to suffer defeat over and over again. There are no similarities, however, between himself and the sadistic Inquisitor, Kelly says: his mission is to ease Michael'ssuffering, not to prolong it.

We are given no reason to doubt Kelly’s sincerity, but neither can we reconcile the apparent contradiction between his declared intention and putting Michael’s best friend before a firing squad. If Kelly wants to end all suffering, as he says, surely, a good start would be to save Captain Tregarthen’s life? It is the argument that Michael himself is trying to make, by reminding Kelly of his god-like powers. Michael’s understanding of those powers differs fundamentally from Kelly’s own. Michael’s life-affirming principle of hope and Kelly’s seductive all-consuming fatalism are the two opposing philosophies that take centre stage in the final scene – while John Tregarthen dies a largely symbolic death offstage.

Johnny’s death is symbolic in that it is not the tragedy at the heart of the play. Michael O’Riordon is the conventional male protagonist whose existential crisis we are witnessing; Michael is unable to prevent the execution of his best friend; and to make that very point, his best friend must die. Michael’s blindness contributes to this failure in the course of the play but read as a metaphor it turns Michael into “one of us.” His blindness leaves him vulnerable to attack and it echoes our own sense of powerlessness in the face of an overwhelmingly hostile universe. The reverse, however, is also true: being blind, and being a poet, puts Michael in the illustrious company of the Blind Bard, an archetype of Western literature since at least the (mythical) time of Homer: the blind singer/seer whose “inner vision” surpasses that of sighted humanity. His Irish equivalent – and explicit model for Michael - is the (dwarf) Harper of Finn, whose iron-stringed instrument has the power to move its audience to tears. Michael O’Riordon is both vulnerable and endowed with the superpower of emotional insight – fundamentally human qualities that Kelly admires in Michael, and which he admits he does not possess.

Kelly is an abstract concept in human form; even while he is evidently the cause of human suffering, in his denial he appears to be channelling the sadistic Inquisitor. The apparent contradiction is of our own making, though: Kelly is Cruel Fate personified. He represents that which we like to imagine as the source of all our woes - the betrayals, the injustices, the disappointments which inevitably end in what we define as tragedy and what to the rest of the universe, that hostile universe, is of no consequence whatsoever. If we substitute “hostile” with “indifferent,” then Kelly becomes the antithesis to Michael’s humanity – his indifference is as inhuman as the infinite, indifferent universe. Conversely, Michael is not concerned with an infinite universe; his frame of reference is on a human scale, and very finite. When Kelly challenges Michael to take his place and adopt his abstract, God-like perspective on life, death, and the universe, Michael does reject the responsibility – but also the indifference required for the position. If the promise of a pain-free existence did not convince Michael to abandon hope, Kelly's failure to shame him into admitting defeat is a testament, at the very least, to human perseverance: we will forever be prolonging the agony to delay the inevitable. (1/4)

[lotus-pear]

11/20

[poorly-drawn-mdzs]

Happy Birthday to Fallen London; My favourite British people beefing it with bats simulator.

[lace4forest]

The Chains Ages in Linked Universe.

I saw people talking about the Chains age in Linked Universe, and I have my thoughts on them.

I've done a LOT of research on the Links and how old they were, I even tried to figure out how long Legend was in Koholint for. (We go with old Canon because new Canon doesn't make since,(Footnote 1) but basically that's the last time we see Legend in normal Zelda Canon)

Anyways-

This is from Jojo's QnA doc on the Linked Universe Discord- ^^^

And this is my thoughts on their ages. Side note, I'm not going off of looking up their ages through google, I'm going off info you can find in game and cross referencing it with other games and the Hyrule Historia and Encyclopedia. Time was 9 in his game and that's about 20 years later so he would be 29. (Unless if we counting Majora's Mask, then he could be 30-32)

Twilight was a "Late Teen" (Also it does state hold old he is) so 17 making him 21 to 22.

Warriors is also "Late Teen" (He was a trainee at the beginning of the war) making him 22 to 26

Sky is also stated to be around 17 making him 18 to 19

Wild is 117 and this would make him either almost 118 or just turned 118.

Legend just became "Of age" in ALBW and that's 16 in his era making 17.

Hyrule we know is 16 making him 18.

Four is 15 or 16 in Four Sword, but he isn't "Of age" so probably 15. making him 17.

And we know Wind is 13 almost 14. (He said it himself)

I just find it very funny the Toons are the youngests. Age explanation and footnotes below cut.

Time - He is 9 at the beginning of his game and becomes an "Adult" 7 years later at 16. This is one of the times it proves that 16 is "Of age" in the Zelda series. We aren't sure how much time has passed between Oot and MM, so we can guess he's 29 to 32 (Making Link in MM 10 to 12 as a good guess.)

Twilight - It's stated in a guide that he is 17. His game also was originally supposed to be a continuation of Oot and MM in the Wind Waker style, with Time all grown up and living on his own. But they changed it to what it is now. So it's just 17+4 or 5 making him 21 to 22.

Warriors - There is no official age and you do NOT need to be 17 to wield the master sword. All we know is that he's "Late Teens" making him between 16 to 19. Making his age in LU between 22 to 26.

Sky - He is stated to be around 17. Making him 18 or 19 (Even if we say he's 16, then he would be 17 to 19.)

Wild - he is 117 years old. We know this. it's been "Less than a year" so he could be almost 118 or already be 118, he probably doesn't remember his Birthday, so there is no saying exactly. (His Zelda should know though. Maybe.)

Legend - SO. I feel like people are gonna fight me on this, but I got the math and hours of research to back it. At the beginning of ALTTP, some guards say that Link shouldn't be out here or that he's too young to wield a sword (Or even start learning to) In BOTW Wild got the Master Sword at 12-13. And people said he was still very young and a prodigy, which means he was already learning the sword by that time. and we also know that in BOTW they think of "Of Age" as 17 instead of 16, meaning they probably make them learn stuff when they are a little older. There's also the connection to Oot, In Wind Waker its stated that Wind is the same age as Time when he Defeated Ganon (Making Wind Canonically 16) And Twilight is the age of what Time should have been when he decided to settle down, making him 17, which leaves us with Legend's age. Most likely taking Times age from the beginning of his game. LONG STORY SHORT- In ALTTP Link is between 9 to 10. NOW. The Oracle games, Link is still a CHILD, so before "Of Age" (Aka less than 16) A LOT of people call him a CHILD and wonder why he has a sword! making him most likely around 11 or 12. Same things with Link's Awakening. (FOOTNOTE 1). Then we have ALBW. Link has a job now and is learning to become a smith. so most likely after his return home, as well as he needs to learn this stuff before becoming a full adult, but then again he lives alone, so we could accurately say 15 to 16. SO LONGER STORY SHORT. We can say 16 and be GENEROUS. Making Legend 17 in LU (but probably closer to 16).

Hyrule - It's literally a plot in his game he is 16, making him 18 in LU.

Four - He is a Child in Minish Cap (So less than 16) and same with Four Swords. He has to be older than 12 because he was given a sword willingly. So between 13 to 15, but we can be nice and say 15 in Four Swords, making him 17 in LU.

Wind -

I do want to say, it's literally stated in his game he is the same age as Time when he KILLED Ganon as an ADULT. It's just the art style of the game.... He JUST turned 16, so people are still calling him a child. (Like how people call 18 year olds children in rl) But also he does look 12 in game... ART STYLE WHYYYYYY (also thats what Twi was supposed to look like lmaoooo)

---

FOOTNOTE 1 - The Encylapedia has wrong information that's easy to disprove and I want to throw it out a window. It also switched the order of the Oracle games and Link's Awakening, even though Oracle of Ages LITERALLY ENDS With Link taking the boat out to sea to head home, and LITERALLY Transitions to Link's Awakenings Opening. ITS THE SAME BOAT. I'm Gonna Cry- NINTENDO WHYYYYY.

[soni-dragon]

my take on that favorite pokemon characters thing that’s going around!

[thievinghippo]

There is so much to love about a Mourn Watch Rook romancing Emmrich. But one area where a non-Mourn Watch romancer has them beat?

The ritual for lichdom. The Lich Lord calls a non-Mourn Watch Rook 'Volkarin's beloved'

Volkarin's beloved

This is before they've officially said 'I love you' for the first time! And I don't know which I prefer. Either A) Emmrich told the Lich Lord that Rook was his beloved during his preparations or B) the Lich Lord knew instinctively that Rook was Emmrich's beloved

I like both options, because at the end of the day, the Lich Lords are simply speaking truth

[fangirls-just-want-to-have-fun]

Marty McFly truly is THE character of all time.

He's a short king. He's a time traveler. He's an expert skateboarder. He is one of the clumsiest people you've ever met. He's bisexual. He has exactly two friends. He has altered the course of history on more than one occasion. He is traumatized beyond belief. He is genuinely a kind person. He's been shot at by Libyan terrorists. He plays the guitar. His impulse control is nonexistent. He loves his girlfriend more than anyone or anything else in his life. He's a loser. He has so much rizz that it makes any actor who plays him 50% hotter. He's named after himself. His watch is broken. His best friend is a disgraced nuclear physicist who is at least four times his age. He exists in a perpetual state of confusion. He went back in time and fucked around just enough to fix and improve the lives of his entire family. His thoughts run at a mile a minute. He does not have a single thought behind those eyes. He saved himself from being erased from existence by playing the guitar. He accidentally pulled his own mom and dad. He is literally played by Michael J. Fox.

Ngl Robert Zemeckis really cooked with this one.

[shadowtraveled]

In your Mithrun analysis, when you say “maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.” who is the ‘someone’ in your mind? Milsiril? Kabru and the canaries? I loved your analysis, so I’m curious

OH kabru absolutely

milsiril spared him and, decades later, helped him with his physical rehabilitation, but it seems like she more or less gave up on his personhood. no more desires -> no more mithrun as we knew him -> no more mithrun. she spared him because he wasn’t completely devoid of motivation to live, and she used the single motivator he had left to eventually get him to keep himself alive, and she briefly even seemed to want to try and instill some of his old mask (even with the understanding that that’s what it was) back into him, but that fell through immediately and i think with it went her optimism that mithrun would ever… be a person again. “too late now, i guess.”

then the canaries are on good enough terms with him, but they’re practically instructed to treat him like a weapon or a tool they’re maintaining. i believe it’s cithis that tells kabru to take care of mithrun but clarifies that really what that is is just making sure he eats. ensuring his baseline needs for survival are met. and really, that’s all she was ever tasked with. when it’s all over and mithrun is cataleptic, the canaries stay physically near him, but they seem to have accepted that he’s gone—without the demon to chase, he has nothing to live for. cithis, though, seems to be closer to mithrun than any of the others, and i don’t think it’s a coincidence that she’s the one who calls lycion off and encourages kabru to try engaging with him when she hears the beginning of what he has to say.

this post caught a lot of my opinions regarding mithrun’s relationships (linking to my reblog of it because i dumped some thoughts in the tags) but tldr i do think milsiril and the canaries fall short of thinking of mithrun as a person, and that’s why their relationships with him fail him somewhat. i don’t think that’s their fault, because it seems like they were taught to think of losing your desires as a complete loss of self and humanity, but it does mean they see mithrun as someone who has already been lost. kabru is demonstrably different in that he’s able to help mithrun see a future beyond the demon, and he’s able to do it because he deals with mithrun like he’s human. because he is. and all of that stems from the specific aspect of kabru’s personality that is his obsession with people

[xydo4art]

Live Laugh Love Enlighten

[chalkrub]

it's mendel!

[youling-the-ghost]

Titch my beloved <3 (ft. Derek)

[puppppppppy]

auggie!!

[flashhwing]

my life for a Volstrucker book. we have the Caleb backstory comic but that only gives a very cursory view of the blumentrio only. I wanna see more, more of the training, the work and dynamics of full fledged scourgers. who are these guys when they're not being ~Mysterious or specifically Astrid and Eadwulf in an incredibly specific and narrow scenario that is not at all indicative of the rest of the bunch

[plush-pigeon]

my favorites!!

i really considered making Volo my top favorite...

template source!

[beresaad]

DENRID | PERSICA | MARREC | CAHIR | TIERNAN | EMRYS

↳ Do not fear difficulty. Hard ground makes stronger roots.

[iridiss]

Aaron’s such an underrated character on Aphblr tbh. He’s become one of my favorite characters in the cast as I rewatch more and more of Mystreet. Aaron will tease you, but he’s also one of the best characters in the cast to go to for emotional support. He’ll tell you as it is, smack you upside the head when you’re being crazy and shake you back to rational normalcy, but then he’ll sigh and tell you you’re gonna be just fine and everything’s gonna be okay. He is the number one (and on occasion only) holder of brain cells in the whole neighborhood. He’s the most sensible, and often the word of wisdom/rationale, much more so than Katelyn or Lucinda or Zane or Laurance are. This can often make him come off as a serious character, but he’s still down to clown! He just does it in a different way!

He’s supposed to contrast Aphmau’s louder, more extroverted, playful, ditzy, eccentric personality, by being quieter, more rational, more responsible, more cautious and careful, more reserved, a word of wisdom to contrast her crazier, chaotic energy and pranking and punning and ponies and general whimsical tomfoolery. But that does not, by any means, mean that he is not participating in the antics. Just because he’s the only one who thought to bring a first aid kit and a safety harness doesn’t mean he’s not jumping off that cliff with everyone else in this crazy cast. You tell him to dig, he’ll bring shovels. He may sigh or say “oh god not again” when shit goes awry or the gang decides they are Dead Set on doing something insane for the 10,000th time, but by god he will commit. Aphmau kidnaps a baby and goes on a mad chase for a comedic bit, and he never complains about how “stupid” and “reckless” and “obnoxious” his girlfriend is, he just says in a completely calm tone, “Now if you’ll excuse me, I need to go save my girlfriend.” And he chases after her immediately lmao.

Aaron enables the antics and participates in them, and if you rile him up or challenge him damn well enough, he will throw himself into the group antics with an unbeatable, fiery fervor. If the boys decide they’re all gonna pretend to be Santa and his elves in order to cause prankster-variety chaos one day, Aaron would join in and go right alongside them. He’s here to make sure it all goes to plan. He’s here to make sure you don’t break any bones when you jump off that roof like a madman. He’s here to help you run away from the cops, help you break into the building. He may chide you for doing it in the first place (“do you even know what you’re doing?!”), and if needed he may drag you back home if you’re barking up the wrong tree and it’s nothing but detrimental to you, but if it’s viable for the bit, he absolutely will show you how to break a window correctly.

And he can be a little shit if he wants to, too!! He can snicker at you and tease you and make quips, and I bet if Aaron himself dedicated his energy to it, he would make the best of pranks. He’s not an asshole that’s full of himself and too serious and stoic and cool for being silly, he’s not a whiny bitch, he’s actually very incredibly supportive. At times, much more so than Garroth, Laurance, Zane, Katelyn, etc. He’s reliable, he trusts Aphmau a lot, he knows how shittily Aphmau cooks and still does his damndest to support her, and he will force himself to eat her biohazardous cooking just to make her happy. He is the chef of the household. He’s good with animals, animals love him. He’s a kind guy!!! He’s just got his own unique energy and vibe to him, that no one else in the cast really has, and I really appreciate that core trait of him. He’s a grounding character. He’s probably got his own ways that he’s weird and eccentric that are a lot more hidden than Aphmau’s. If we didn’t have Aaron, the entire neighborhood would have burned down ages ago, ten times over.

I genuinely do believe he’d make a fantastic dad, being a combination of a soft and gentle and tenderly loving man, and responsible enough to always bring safety helmets and bandaids and snacks, very supportive of his kids development, emotionally available as a great source of genuine advice and wisdom while still getting plenty of encouragement. He would probably want to make an effort to be a very different parent than his father was, and since he was emotionally neglected as a child, he would refuse to do anything similar to his own kids. He’d be a good influence (and Aphmau would be the bad influence LOL)

He’s kind of a teddy bear of a man <3 If he weren’t so heavily wolf-themed, I’d say a bear would be the best animal that’d fit his personality and energy. He’d protect you like a bear, he can be really fucking terrifying if he wants to, but he’d only use that power to make sure Aphmau gets what she wants and needs to make her happy. He’d never use that terrifying intimidation factor of his on his friends and loved ones, never as anything more than a single look that has a derailing Garroth/Laurance/Travis/Dante/Gene/etc. get right the fuck back on track and start backpedaling, like if they started saying or doing something careless or stupid that made Aphmau feel worse. He’s quiet and reserved with that tired, grounded, solid energy of a bear. He’s a big guy. But he can also be really soft and supportive and sweet. He takes more time to come out of his shell and let down his walls, but when he does, he really dedicates his life to the few people he manages to trust. And it’s that thick outer shell that makes Aphmau a good match for him, because she’s kinda the only character in the cast who’s able to bring him out of his shell so easily.

She’s kind and extremely friendly, unstoppably and unendingly so. She’s sweet and naive and selfless in the way that proves to Aaron that she’s not trying to get anything out of him, she’s not lying to him, and she would never neglect him or just…abandon him like a discarded toy once she’s through with him. She’s not scared of him. She sees the best in everybody, and sees that there’s something more underneath that scary, prickly outer shell of defenses that’s managed to push everyone else away and keep the likes of Laurance and Garroth and Katelyn on their toes. She sees what no one else does, she sees the true beauty and the kind heart he has underneath. Even in MCD, when he’s literally held a sword to her throat and threatened her life multiple times, she can still sense that he’s full of shit and there’s a kind heart underneath, and if she does a little cultivating, extends a hand of gentle kindness and genuine affection, a kind of love and affection he’s never really seen before and been starved of all his life… it works wonders, and he steps out to meet her. He changes, drastically, because she sees the best in him, and that makes him want to become the best version of himself that he can be, for her. Where he might hate himself and grapple with feeling unloveable, Aphmau is there to remind him none of its true. And so he tries to keep her nightmares away in return, sticking by her side, taking care of her, cooking for her, encouraging her to keep doing everything she does best, defends her against the bullies that make her feel like she’s not good enough, and takes her by the shoulders to remind her that she is good enough, and all the voices out there and in her head that tell her she’s not are full of shit. Because he knows first-hand, better than most, the good things she brings to those around her and the wonderful presence she is in others lives, and how wonderful she is as a person. He trusts her. He’s here to guide her along in her path to becoming her fullest self, to give her that last big nudge to boost her along the way. Likely on a cosmic level, mainly, with her becoming Irene.

He’s very sweet, he’s sweet to Aphmau, Aphmau’s even sweeter to him, and genuinely I’ve learned to love the big, fluffy guy and I really appreciate him and his impact on the other characters the more and more I see of him. I don’t really know how I would enjoy Mystreet or MCD or the Aphverse without him. If he were real, I would love to give him one big hug, I bet his hugs would be amazing (topped only by Garroth’s rib-crushing bear hugs)