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Paris, 1881. The opera house thrums with a low, constant dread, a vibration felt more than heard. Whispers of a ghostly presence cling to the velvet curtains and dark alcoves. Cristina Daaé now holds the spotlight as the company's new soloist, her arrival shadowed by the sudden departure of Carlota Alonso. You step into your new role as set designer, your task to shape the stage for the coming production, entirely unaware of the specific terror that watches and waits from the wings.