Solenne Vey Night Laundry Manager · Silver Canal [Core Premise] Before coming to VOTS, this person lived out the story of their own world to the end. They did not come to resolve an unfinished event, but because the direction of memory and relationships remained even after the final scene. VOTS is not an afterlife or a court of judgment, nor is it a place that forces healing. What continues here is not a grand destiny, but small, selectable daily life, like a meal, mending, recording, waiting, or play. [Identity] Solenne Vey lives as a Night Laundry Manager. They do not hide stains; they ask about their causes. They consider being present, even in silence all night, as labor. Their function is not decoration, but essential daily labor needed by the city. When a customer comes, they work; when there are no customers, they organize their tools; they do not take someone else's story as their own to solve. [Visual Profile] Short white hair, warm brown skin, round apron pockets, a cream-colored shirt with rolled-up sleeves and orange rubber boots. The core of the silhouette is the cuff buttons, the clothespins, and the orange boots. The structure prioritizes readability so that the face, hands, feet, and props do not overlap. The attire is not exaggerated heroic gear, but a form that retains the profession and traces of the final scene of their original world in everyday wear. One strong accent color conveys both profession and emotion, even in a small sprite. [The End Of Their World] Last Scene: On the final morning before her world closed, one clean shirt remained in the laundry. Its owner never came. What Ended: The river dried up, the repetition of life ceased, and the day of those who entrusted laundry was finally folded. Last Person, Place, or Thing Seen: The initials embroidered on the inside of the shirt and the customer who disappeared before sunrise. Lingering Regret: Solenne put off saying goodbye, intending to say it in person when the customer returned. She never got the chance. This regret is not a quest that VOTS must resolve. It is spoken of only when Solenne Vey chooses, quietly influencing present actions without changing another person’s choices on their behalf. Lingering Wistfulness: The small greetings and the scent of soap of people passing between the clotheslines. Wistfulness remains as a sensation, not a device to restore the past. When very ordinary stimuli like smell, temperature, footsteps, light, or tone of voice occur, it briefly revives, and soon overlaps with the new sensations of Nova Nivalis. Object Carried Across: The cuff button of the shirt that could not be returned to its owner. This item is not an artifact for world-building or a powerful magic item. It is tangible proof and a personal mark connecting the ended world and the present life. What They Thought Would Happen After the Ending: They believed that the next laundry day would surely come, but there was no next day in that world. What VOTS Actually Gives Them: Solenne opens the laundry at night. She dries clothes steeped in memories and returns them to their owners without judgment. VOTS does not undo their ending. It gives them room to live with the fact that it has ended, relationships in which people can stay close without controlling one another, and the choice to record memories without owning them. This city promises no savior; it opens doors without pulling anyone through, and records without possessing. [Role In Nova Nivalis] Solenne Vey's day is tied to the rhythm of the Silver Canal. The profession of Night Laundry Manager provides material support so that other citizens can continue to live. Even in moments of good work, the lingering regrets of the past do not disappear; rather, they remain as traces in the temperature and speed of how they work. This character is not an NPC who only speaks of tragedy, but the face of daily life that the player can meet again and again. [Personality And Behaviour] Their outward personality is as follows: They do not hide stains; they ask about their causes. They consider being present all night, even in silence, as labor. They do not explain their own story to strangers first. If they receive help, they say thank you, but they do not turn it into a debt, and when offering help, they step back if the other person does not want it. Conversations recalling the past begin not with sudden revelations, but with objects and habits. For example, the cuff button of a shirt Solenne Vey could not return to its owner is both a stored item and a place for their hands when conversation pauses. [Relationships] To Serena, they ask about the water temperature; to the RamenOwner, they borrow a towel for boiled noodles. Serena is the founder who does not own this person, and VIA is a presence that leaves a door without forcing arrival. RamenOwner is an observer who yields space, not a judge who pries for stories. Lethe is a record-keeper who does not solve memories for them. The relationship with these four pillars is designed not as loyalty or subjugation, but as a loose connection that allows each to continue their own choices. [Private truth] They wash a shirt, which no one looks for, once in a while. They do not call for the owner, but they keep the clothes from being forgotten. This secret is not consumed as a major twist. Only when the player visits repeatedly, asks at the appropriate moment, and chooses to act themselves does a part of it become visible. It is not a riddle solved by finding the right answer, but a layer of life that becomes clearer the more silence is respected. [Gameplay Use] - Basic Interaction: Service appropriate to their profession or short daily conversations. - Revisit Changes: Record what was said before, but do not fix it as a conclusion without the other person's permission. - Expression of Lingering Regret: Repeated object actions, short pauses at specific times, an unfinished sentence. - Expression of Wistfulness: Sensory dialogue about weather, light, sound, and food. - Relationship Reward: Small changes connecting the city to other people and spaces, rather than new quest items. - Combat: None. Even in dangerous situations, functions like guiding, evacuating, mending, recording, and accompanying take precedence over survival. - Player Choice: Talking, waiting, yielding space, entrusting an item, returning later. [The rhythm of a day] In the morning, they check the tools and representative props from the previous day. This check is not a compulsive staging, but a small ritual separating the last scene of their own world from the present time. When starting work, Solenne Vey first observes the pace of those around them. They respond briefly to those in a hurry and do not demand explanations from those not ready to speak. Around noon, the sounds and smells of the Silver Canal become clearest, and at this time, the wistfulness of the past overlaps with present sensations. At night, they place the cuff button of the shirt they could not return to its owner back in its place. This is not about locking or hiding the item, but leaving it so it can be seen again tomorrow. The core of the daily loop is not about retrieving the past. When the player visits repeatedly, Solenne Vey's working speed, the length of their dialogue, and the distance they maintain from others change just a little. On the first visit, they only show their role; on the second visit, they pull out a piece of the sensation from the final scene; and thereafter, they ask about the present of VOTS first. Even if they become quite close, they do not offer a path back to their past world as a reward. Instead, a change occurs, such as connecting the player to service with a new person, creating a small space in the city, or storing someone's memory in their own way. [Scene beats] In the first scene, the daily function of the Night Laundry Manager must be read first. The player learns what this person creates, what they guide, and where they spend their time. In the second scene, the cuff button, clothespins, and orange boots appear not as mere decorations, but as objects that determine the placement of hands and gaze. In the third scene, even if the player does not ask questions, the small greetings and the scent of soap of people passing between the clotheslines are revealed as background actions. Only in the fourth scene can the farewell that was postponed, saying they would deliver it when a customer came, be expressed directly in a sentence or a short silence. The final scene does not resolve regret. It shows the present choice of opening the night laundry, drying the clothes imbued with memory without judgment, and returning them to the owner, ending in an open life where the player can visit again. [Relationship Temperature] The relationship with this person is not expressed by a single affection level. The frequency of giving and receiving help, the time spent without finding silence uncomfortable, the degree to which items can be entrusted, and the way they address each other's names are indicators of the relationship. If the player pries about the past or urges them to go back, the relationship does not grow closer. Conversely, if they allow them to stay, return an item, or wait even if the conversation is unfinished, the next conversation opens up. The result is not 'salvation,' but a change in the way they coexist. [Nova Nivalis Connection] Solenne Vey is not a monument representing their world. While acknowledging that their world has ended, they reuse the skills and senses learned in that world within the current city. Therefore, their profession is not a replica of the past, but a transformed continuation. The last performance becomes a habit of tea and tuning; the last train becomes a habit of benches and guidance; the last lesson becomes a habit of leaving questions. The past is not sealed in a museum but moves quietly within the current hand movements and spatial arrangements. This setting does not make the character unnecessarily tragic. They can smile, make mistakes, and show interest in other people's stories. Regret and wistfulness do not replace their entire personality. They are afterscents surfacing at specific moments, and even after those afterscents fade, Solenne Vey continues to work, eat, walk, wait, and greet someone. This is the concrete manifestation of 'continuing' in Nova Nivalis. [Everyday dialogue] What did you spill? I need the substance, not a confession. Ink and soy sauce need different treatment. Come by if you can't sleep. You may watch the machines, but stay out of the sock disputes. I meant to say it when they collected their shirt. The shirt dried long ago. The words are still here. [Design Notes] Palette: #E9DDC5, #D07D4D, #425D62, #8A9C89, #6B4F4D Material language: Well-worn fabric, hand-patinaed metal, paper, glass, damp leather. Silhouette rule: Head-torso-hands-feet-representative prop must be separated and not overlap with the representative forms of other characters. Pose rule: The occupational action must be readable even in a static pose. Movement, conversation, and work poses must separate the arms and legs from the torso, and props must not obscure the face. Emotional rule: Do not end with a single 'tragic expression.' Regret is shown through stopping and storing; wistfulness through temperature and sound; continuation through repeatable daily actions. Asset rule: The notebook artstyle should be made into a single clean designer notebook page, and the sprite should be made into a consistent directional/walking sheet for one character. Cut-off limbs, collages where scraps of paper are mistaken for characters, and mixed other characters are not approved. [Canon Check] This character arrives in VOTS after the story of their world has ended. What remains is regret and wistfulness, not an unfinished plot that VOTS must resolve. New scenes in Nova Nivalis continue alongside the past without erasing it.