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    Summary

    In his thrice-acclaimed answer to one of Tiliard’s most well-known pieces of art, the unmatched Revivalist playwright Olaf Aufhocker declared in his opera That Last Dead Man, as part of one of the greatest climaxes the Tiliard Opera House had seen performed in all its long history, that “there is nothing greater than the embrace of one whose views you cherish.”

    Due to the ecdytoxin-enhanced finale of the show, delivered by precisely-yet-wrongly-instructed Crypsis agents, few viewers are yet able to accurately recall the line that followed: “And in turn there is nothing worse than the tender grasp of someone you once held dear.”

    Or: Some of the people who held the man intermittently known as Guy Moulène. A tragedy in five-and-one parts.

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