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In Throne of Ruin, the combat arena was a visual set piece — circular stone platform, tiered seating, atmospheric lighting, dramatic camera angles. The sound design was cinematic: clean sword clashes, orchestral score, the occasional crowd gasp timed to key moments. Polished. Controlled. Entertainment.

In person, three thousand students crammed into a vertical amphitheater generated a noise that was less "entertainment" and more "contained riot." The roar of conversations layered on ...

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