Eureka!

Suddenly, inspirations! Inspirations everywhere!

spongebob_imaginationI think I found the perfect core concept for my new iteration of the Ancient Lands setting. And if you know me just a bit, it will be no surprise to you: “Star Wars as a Bronze Age Sword and Sorcery setting.” Specifically the two Knights of the Old Republic comic series.

And now I also know what to do with the naga in the setting that isn’t simply making them Yuan-ti. These guys:

Sadow_vs_KresshI am not going to copy the whole Sith War storyline, but I think the old Sith are a perfect inspiration for the overall mindset and culture of the naga.

I’ve already been planning to do a group like the Mandalorians and the Qunari from Dragon Age for a long time. And two of the races are directly inspired by Jarael and Sylvar.

Air Genasi
Air Genasi
Kaas
Kaas

The Dathomir Nightsisters also have many great pictures I can use.

Kaska Witch
Kaska Witch

Of course, I am also taking liberally from Mass Effect (the second best thing after Star Wars), and the naga get a race of obedient servants inspired by the Geth.

Serpentmen
Serpentmen

And there will be both wood elves and dark elves as well.

Falden
Falden
Yagashi

This is coming along pretty nicely so far.

Revision time… again!

I’ve been working on the Ancient Lands setting for a bit over four years now, and it seems a pretty regular ocurance that I feel like I went completely wrong somewhere and have to start all over. I think this is about the fifth time that I am sitting down to try to define the core concept of the world and pick the basic elements that are going to go into it. Though it’s not all in vain, as I am not completely starting all over again. It’s more like disassembling the whole thing and trying to put the pieces together in slightly different way, making some modifications at some parts while a few get discarded and perhaps replaced by something new. Or to use the poetic analogy I’ve heard somewhere, it’s like the waves on the beach, going back and forth, but each time getting a bit higher up the sand. Two steps forward, one step back. And I think I’ve come really pretty far by now. That I announced completion a few weeks ago does not have to concern us here now…

I think I primarily made two main errors, which resulted in the setting turning out as something somewhat different than I wanted it to. I think I also had a bit of a change of taste, as I’ve been reading a lot Sword & Sorcery and pulp over the last half year or so. I put the blame at Beyond the Black Gate and From the Sorcerer’s Skull, as well Planet Algol with all their pulpy goodness. Made me remember what my own work is missing and now I have to do it again to put it all back in.

The one mistake that I’ve made was with creating the concepts for my city states. They are city states and good ones, but they are more along the lines of Byzanthium, Carthage, and Babylon. And like Rome these are much more known as the capitals of big empires rather than the small Greek city states of the Trojan War I’ve really been thinking of when I had the idea. As a result, civilization got waaay too big. Much bigger than it really fits the concept of the Ancient Lands. In the stories they are called “kingdoms” and “cities”, but what I really need for the Ancient Lands are glorified fortified towns. The Golden Hall of King Theoden of Rohan is really the archetype for the kind of “palace” that is common in the Ancient Lands. This means I am probably going to scrap all the cities I have so far and start them all over again. Which given the amount of work I’ve put into them so far isn’t really much of a loss.

The other mistake was the backstory for the Vandren, a human tribe of horsemen inspired by the Scythians or Kozaks. What I’ve been working with almost from the very start was that the elves of the Ancient Lands encountered the Vandren when their explorers reached the Great Plains on the far side of the great forests and through them got access to exotic goods from the distant Western Lands. Pretty much all the recent history then build upon the elves and the Vandren making alliances, the Vandren migrating to settle in the Ancient Lands as their vasalls, and so on. But now I realized that this results in one very big problem. As it stands now, the great forests stop somewhere on the left side of the map where you see the edge of the Great Plains with a big arrow that says “To the Western Lands”. And that just doesn’t work for the kind of prehistoric setting I want to do. One of the very first concepts for the Ancient Lands was that of a Forest World, but what I ended up with is a world of plains and steppes with a few big forest which you can ride around. Now the forests are just big, but not stretching beyond the horizon into the unknown, beyond the borders of what mortal eyes have ever seen. I deliberately did not make a full continent or even a world map for the Ancient Land and had the sea only on one side with the other side being land all the way to the edge of the paper. But showing the far side of the giant forests and adding a (figurative) arrow that tells you what lies beyond completely defeated the purpose. I still love the Vandren and someone gave me a great idea how to salvage them. Instead of coming from the plains, the continent is now once again all forests and mountains, and the Vandren will be some kind of hill people. And instead of bringing spices and silks, they now simply trade in salt. Salt is the universal spice and more importantly food preservative. Everyone needs it in bulk quantities and really can’t do without it (or have a really terrible winter) and though I am mostly familiar with salt mines in coastal plains, there are actually many much older deposits in mountains like the Himalyas. So hill people could conceivably become major salt traders. Perhaps making them ride on horses doesn’t make as much sense in a forest and mountain world, but maybe I make them ride on oversized yaks. Or hadrosaurs. (Yes, in a fantasy setting riding hardrosaurs can make much more sense than horses.)

I already have a new vision for the setting in my mind. Not quite sure what I am doing with the naga and lizardmen yet, and I am not completely sure if there is a place for the dark elves without things getting too crowded. But I want to give a much bigger role to the kaas, which is inspired by the Lords of War trailers for World of Warcraft. (Only played Warcraft III, but they look cool.)

I’ll think some more about it before discarding what I’ve written so far, but I am actually feeling a lot more excited about the setting than I’ve been for quite some time.

Ancient Monsters: Ghoul & Shade

I’ve been spending some more thoughts on undead in the Ancient Lands. Since there is only a single source of natural power and energy, anything that is unnatural is a corruption of it and also comes from the same source. Sorcery, demons, and undead are all really different forms of the same thing. In that context, I’ve been doing some reworking of the common undead types so that everything fits together seamlessly and makes all sense.

I particularly like the ghouls as being some kind of insane mutants. While they look more like diseased humans, they are actually a lot like Golum in most ways. The shadows are also cool. Usually they don’t really do anything and just stand around being creepy, but that means you can use them in much larger numbers and make them a type of dangerous environment.

Ghoul

Ghouls are humans, elves, or other humanoids who have been corrupted by the dark magic of sorcery or demons. Though they have never truly died, they resemble the undead, existing in a state between life and death. They grow gaunt with pale skin and dark sunken eyes and are suffering from madness, but are also filled with unnatural vigor and are much more cunning than any beast. Their clawed fingers can crush a mans throat and leave deep rends in the flesh of their victims, and their teeth have the strength to bite through bones, as they regain their strength by feeding on the flesh of humans and beasts.

Many ghouls once were adventurers and treasure hunters who delved too deep into ancient places where the living are not meant to tread, or what remains of those who become slaves of dark sorcerers or demons.

Ghoul (Barbarians of Lemuria)

Attributes
Strength 2
Agility 1
Mind -1
Appeal -2

Combat Abilities
Attack with bite or claw +2; damage 1d6-1 plus paralysis
Defense: 2
Protection: 1
Lifeblood: 10

Any character hit by a ghouls attack must make a Moderate Strength roll (+0/TN 9) or be paralysed for one hour.

Ghoul (B/X)

No. Enc.: 1d6 (2d8)
Armor: 14
Move: Normal
Hit Dice: 2 (9 hp)
Attacks: Bite or claw
Damage: 1d4 plus paralysis
Save: F2
Morale: 9

A creature bit by a ghoul or hit by its claws must make a saving throw against paralysis or be paralysed for 2d8x10 minutes.

Shade

When people die who have been corrupted by demonic sorcery, the Corruption that wrecked their bodies can linger on, turning into Shades. With both the bodies and souls of the original person gone, shades are nearly mindless clouds of Corruption that float silently above the spot where they died. They are normally invisible, but cast dark shadows in the presence of bright lights and they can be clearly seen as shapes of darkness if any light shines upon them in the presence of dust or smoke.

Walking through a shade drains a small part of the life force of living creatures and can start the spreading of Corruption over time. While most shades stand motionless in the spot of their death and don’t seem to react to anything around them, some are aware of the presence of living beings nearby and attack when anything comes too close to them. While their insubstential clawn do not leave any physical injuries, being in prolonged contact with an attacking shade can quickly drain all the life energy of a living person and spread the Corruption through its body. People who survive the attack of a shade often show dark purple streaks on their skin that becomes ashen pale and cold, which will last for several days. Those who die will often leave behind a shade as well, joining those who killed them.

Shades are common in places where lots of people have been killed through sorcery, like the lairs of demons or the sites of sorcerous battles.

Shade (Barbarians of Lemuria)

Attributes
Strength –
Agility 3
Mind -3

Combat Abilities
Attack with touch +3; damage 1d6-1
Defense: 3
Protection: 0
Lifeblood: 5 (only harmed by magic)

When a creature is killed by a shade, a new shade appears in the spot of its death 3 rounds later.

Shade (B/X)

No. Enc.: 1d6 (2d10)
Armor: 15
Move: Normal
Hit Dice: 2 (9 hp)
Attacks: Touch
Damage: 1d4
Save: F2
Morale: 12

Shades can only be harmed by magic weapons or spells. Any living creature killed by a shade must make a saving throw against Death or Poison or a new shade will appear where it died within 1d4 rounds.

I think I am done with Weird Fantasy

I discovered Lovecraft only a few years ago but found that there is a real charm to his works. And the more I read, the more I realized that it’s really not a lot like the “Cthulhu Mythos” I’ve been hearing about for several years before. All the many horrific gods and the alien races with their billion year old wars barely make any appearance in his stories. Calling it the “Cthulhu Mythos” is particularly puzzling as he appears in only one story, which I admittedly found rather lacking, and so much more talk is about Yog-Sothoth, Nyarlathotep, Shub-Niggurath, and Dagon. There are some hints here and there that strange creatures have been to Earth in the distant past, but there isn’t anything about ancient histories of cosmic wars. Turns out Lovecraft never called it Cthulhu Mythos and all the other stuff was written by other people. And I have to say I find Lovecrafts own stories to be much higher quality because they don’t explain things and leave things vague. All the systemization, cataloging, and historic recording was the work of people who wanted to expand, but in my oppinion didn’t actually get what Lovecraft had been done. Still, most of Lovecrafts own writing is quite good and I still regard those stories very highly.

Some time later I came into contact with various videogames that had some kinship with the style I appreciated in Lovecrafts stories. The Japanese Silent Hill series, and the Ukrainian Stalker and Metro games. All these works have themes of desolation and decay, with protagonists who have to deal with events and environment which they don’t understand but have to deal with alone. And one thing that is really compelling about all of them is not what they explain about the events and environment, but what they leave highly vague and ultimately unexplained. The stories themselves have some interesting ideas, but it’s really everything around the characters and the plot that’s really selling it. In the sphere of games the common term is Lore, but it’s really the same thing as worldbuilding. Perhaps even a better term as the worldbuilding is really the creative process of making the world, while the Lore is the information that actually gets presented to the audience in the finished work. They don’t care so much how it’s done, just what the final result is.

Both the Stalker and Metro games are based on Russian science fiction novels and few people would think of Silent Hill as Fantasy. It’s simply Horror. (And the most terrifyingly, pants-shitting horror I’ve ever seen anywhere.) But they still intrigued me greatly as inspirational sources for the worldbuilding on my own Ancient Lands setting. Having really gotten into fantasy both with Dungeons & Dragons, rereading The Lord of the Rings, and playing the Warcraft games, my encounters with fantasy were highly dominated by works that explain absolutely everything down to the smallest level. The more minimalistic approach of both Lovecraft and Horror games, which also have a lot of Lore but it’s much more uncertain and speculative, seemed both more entertaining and intriguing. I later encountered other Japanese fiction like Neon Genesis Evangelion and Elfen Lied (the manga, the anime sucks), which also went a similar route and did very well, at least for me.

So when I heard of fantasy roleplaying games created with the express intend to evoke the bizarre and unknowable it had my curiosity. James Raggi is the posterboy for this movement with his Lamentations of the Flame Princess game, but there are plenty of others whose creative output is just as important. Raggi made the choice to call his game Weird Fantasty Roleplaying, which all things considered seems quite accurate. I haven’t read any of the Bas-Lag books, which are probably the most popular work by which the “New Weird” is identified, but from all I’ve heard about it there seems to be a clear kinship.

And over the last two or three years, I’ve learned a huge amount of things about creating fantasy that is based on and revolves around the inexplainable and extremely lethal. I came, I saw, and I learned. But I also find it to get really tiresome and also going overboard. The Weird Fantasy roleplaying material seems too deeply focused or even obsessed with the grotesque and being outright repulsive. Mutilated corpses and baby-eating penis monsters get from being horrific to being just obnoxious very quickly. I can’t speak for the literature, but in the area of roleplaying games, the Weird seems to be taken as almost synonymous with being both random and repulsive. And that’s just not doing it for me.

When I am looking at a great mystery, I am seeing a small piece of something bigger. Potentially much bigger; who could tell where it ends? In a good mystery I learn what happened here and now, but how it is connected to all the hidden forces and powers I might never know. That’s just what Lovecraft did. But in the Weird Fantasy there often isn’t anything to know. Weird shit just happens and because the characters of the story will never know, the writer doesn’t make any effort to give some reason or purpose for it. And I think the story as a whole suffers greatly from it. In a total vacuum of information, the characters have no meaningful agency. Investigation is pointless if there isn’t anything to learn. Surviving in a situation you can’t begin to understand might be interesting and exciting at first, but ultimately it really is just pure luck and the writers whim that keeps the characters alive. They don’t really have a hand in their fate. And while that’s bad in literature, it’s just outright terrible in a roleplaying game.

I also found myself trying to make all my monsters horrifying, until I realized that I didn’t really have any idea why I would think that might be necessary or even desirable. Reading Hellboy this week, where fey spirits of Britain and Russia play a major role, I remembered that I went looking into this whole Weird Fantasy business to learn about how to make monster threatening and dangerous, and most importantly ambigous. And there just isn’t anything ambigous about a 30 meter tentacle penis with huge teeth. What I am really after with the Ancient Lands is a world in which spirits are real, potentially dangerous, but also worshipped as protectors and bringers of prosperity. What I am after is “awe”. Not terrified panic. In good fairy tales the protagonist has to get face to face with the spirits and atrempt to have a human interaction with something that deep inside is utterly inhuman. That is the fear I am after. The fear of overplaying your luck and slipping up right in front of a being of unbelievable power and primordial and unrestrained emotion. Something that is like a person, but ultimately not a person at all. Which is something none of the beings in Weird Fantasy have. They just attack as soon as they see you and turn you into screaming goo as soon as they touch you.

My time with Weird Fantasy certainly was not a wasted one. There are actually some really good ideas to how approach and structure things. But these are fine tools, which I believe are much more often misused as sledgehammers. I rather go with Hellboy.

Criminal Organizations in the Ancient Lands

When I started collecting lists of all the stuff from other great fantasy settings which I would like to include in my Ancient Lands world, I also made a short list of cool criminal organizations. There are some pretty cool and interesting ones out there, like the Shadow Thieves and Zhentarim, the Dark Brotherhood, Black Sun and Czerka Corporation, the Shadow Broker, and a whole lot of others. But a very important part of good worldbuilding is to keep the whole setting coherent in its premise. And now that I started to really give some thought on the criminal organizations I had floating around as broad outlines, I noticed that most of them really don’t fit this kind of setting.

The Ancient Lands are a world that is primarily wilderness, inhabited by tribal people in small villages with only a few larger cities, which are still relatively small compared to those of other fantasy worlds. Having a Gnome Mafia in such a setting doesn’t really make much sense in such a setting once you start looking a bit closer. Each clan has its own small territory and is effectively controlled by a single extended family that rules without any interference from outside forces. There usually is not even a king and certainly not any state that tells them what they can and can’t do. As long as the minor families don’t revolt, the clan leaders can do whatever they want. At the same time the clans are small enough that the leaders are personally aware of anyone who is stirring up trouble and when someone commits crimes against other people of the clan, the chief can simple have them exiled or executed and that’s the end of it. The chiefs personal croonies might be abusive bullies, but that only makes the chief a tyrant who still is officially in charge.

Which leaves the cities and major towns, but those aren’t actually that big either and there isn’t a lot of them as well. In a city of ten two twenty thousands, you can’t really be building a criminal empire without becoming one of the rulers of the city and spreading out over multiple cities is also not particularly practical. There is also the question of what criminal organizations would do. In a Sword & Sorcery setting the only purpose to smuggle anything would be to avoid taxes, but usually nobody cares what weapons, poisons, and drugs you are selling. And tax evasion isn’t really a terribly villainous crime.

But there are still plenty of people who make money with violence while not being part of the official governments.

Cartel Merchants

In most cities of the Ancient Lands, nobody cares which kind of dangerous goods you can buy at the market or in shops. However, there are some people who care a lot about who may sell which goods or not. If any kind of goods is sufficiently rare, some merchants always try to get a monopoly on them. Be it certain rare drugs, spices, poisons, gems, or other precious materials, usually there’s a small number of rich merchants who control virtually the entire trade with them and they go to very great length to protect their monopolies. These merchants are only losely organized but include those who produce, transport, and sell the goods. Anyone small stores in the cities and towns who are found to sell those goods without getting them from the big merchants who claims the local monopoly on them will quickly be visited by some of his croonies who will make sure it’s not going to happen again.

Smuggling illegal goods by the city guards isn’t really a thing in the Ancient Lands, but secretly circumventing the cartel monopolies can bring just as great profits. However, the price for getting caught is usually much higher as well.

hyboria_hyrkaniansOutlaws

In a tribal society outlaws are not simply people who break the law, but those who have been exiled for whatever reason and cast out whithout the protection of any clan or city. In a world with no courts and no police outside the cities (and even there they are mostly confined to the richest neighbourhoods), the only thing that protects you is the certainty that someone will avenge any crime commited against you. Without a clan to back you up, you’re fate depends entirely on your skill with your weapon. At the same time, nobody can be held responsible for your actions if you commit any crime or cause any damage and you don’t have to worry that anyone else is going to suffer for your offenses. So even people who don’t want to rob or murder you still won’t trust you because there isn’t any reassurance that you will behave. There are really only two possible lives for outlaws, which are becoming a hermit in a place where nobody will find you, or becoming a bandit.

Occasionally warriors down on their luck will try to ambush travelers on the road for a bit of money and food, but outlaw bandits are a whole different class of criminals. These men and women often band together for mutual protection against anyone who might want to rob or enslave them and while many of them have been exiled for some crime commited against their clans, an equally large number were born into these gangs. Even if they have not commited any crimes themselves, nobody believe that these outlaw children could be trusted to be honest and behave either. With almost no other clans or merchants willing to trade with them, bands of outlaws often survive by robbing travelers and caravans on the few roads that cross the vast stretches of uninhabited wilderness of the Ancient Lands. Most of them have their own hidden villages somewhere in the wild, where they keep their loot and their families and slave grow some meager crops and keep a few goats and pigs. Not all outlaw bands are necessarily evil or murderous, but they all know that everyone fears and mistrusts them and don’t take kindly to most strangers. Other outlaws might find a home among them, but all bandits know that they can’t trust anyone, especially each other.

koxinga2Pirates

Pirates are very similar to the outlaw highwaymen that ambush caravans on the roads, but their territory is the sea and the major rivers of the Ancient Lands. Not all pirates are outlaws and many crews are simply warriors of poor clans that are unable to support themselves with whatever resources their homes offer. Coastal and river pirates often make their own small boats which they use to board merchant ships, while sea pirates mostly use ships they have captured from Keyren, Takari, and Mayaka traders. River and coastal pirates defend their territory against competitors as fiercely as highwaymen, but the sea pirates often roam very large stretches of sea for many months and generally avoid fighting with each other. There are several known pirate ports in the islands of Suvanea in the Inner Sea and the outlying islands of Halond to the north, where pirate ships make stops to make repairs, take supplies, and also trade the treasures they captured.

Fences

Both highwaymen and pirates keep a good part of their spoils to bring back home and share with their families, but usually a large amount of the booty consists of things that have relatively little practical value to them. Since they can’t really visit the great markets in the cities and towns without raising questions, they need the help of merchants who don’t have any reservations about trading with thieves and murderers. As the pirates and bandits don’t have a lot of choice where to sell their loot, these goods are often traded well below their actual value, resulting in a huge profit for the merchants. Very often these fences are the same merchants who also control the monopolies on certain goods.

Street Gangs

In the cities and larger towns there are also always some minor criminals who make a living by stealing and robbing people in the streets at night. There is rarely more than a few dozen of them in any place except for the very largest of cities, but often they band together in groups of just a small handful of thieves who each carve out their own territories and drive out any other thieves that might try to compete with them. Too many thieves in any area only make the guards patrol more frequently and keeps rich people off the streets at night, so that’s bad for business. Larger gangs might be able to extort some money from small merchants in the poorer parts of town and in some cities where the guard has no real presence outside the rich neighborhoods they effectively rule the streets themselves. When they get powerful enough it often gets more profitable for them to stop robbing people at night entirely and instead collect a fee from the residents for their service of keeping the streets clear of other gangs or drunk sailors. Such neighborhoods are often actually safer than those which are patrolled by the guards, but only as long as one is paying the local gangs their share. There are rarely more than two or three such large gangs in any major cities, and usually only one in smaller towns. Two gangs in the same town usually don’t last very long.

Bringing prehistoric fantasy worlds to life

Work on my Ancient Lands setting is coming along nicely and not only do I have all the components parts ready, but also got names for almost all of them. Unless you tried building a fictional world and create a compendium of all the main groups, places, and creatures, you won’t believe how terribly difficult that last part is. Making names is easy, making names that are not total garbage and sound completely made up is unbelievably hard work. And it doesn’t get easier when you get to make some 200 of them that are supposed to come from half a dozen different language families.

Now that I know where all the places are, who lives there, what their relationships with each other are, and what kinds of environments and creatures make up the world outside the settlements, the next step is both much more complex, but I think also easier. A fantasy world is not a map with names on it, but it is all about the people who live in that world and how they interact with each other. How do they behave, what do they believe, what to they want, what do they fear, what do they opposose, who has power, of what kind is that power, how do they live, how do they fight? Take the first half hour of Star Wars for example: You don’t know who any of these people are, what those places are you see, and what everything is about. But it’s still a very evocative setting, just from seeing the people interact with the world around them and each other. (Star Wars is also what I consider to be one of the greatest examples of the effective use of archetypes: The moment you see Darth Vader you know exactly what kind of character he is, and the imperial uniforms make it perfectly clear what type of Empire this is. Nobody has to say it, it’s clear because you’ve seen people like these countless times before, and you’re meant to recognize them.) In Fantasy, it is very common to do things the standard way, which means the popular image of the European middle ages. Connor Gormley wrote some interesting thoughts on why this isn’t necessarily a bad thing at Black Gate a while ago. But the Ancient Lands is specifically meant to not evoke images of a medieval world, but instead aims to feel prehistoric. The reason I think it’s also easier than chosing the elements that you want to put into your world is that from this point on you’re actually staring to thing of people and events and the possibilities now are based on the things you already have in place and don’t come purely from a vacuum.

The idea of a “prehistoric time” is a bit blurry. Originall the term refered to the periods of human civilization and culture from which we have no historic records. Only archeological finds and reports from later times, but no documents in which those people wrote down what happened during their own time. The “historic period”, as least as far as Europe, the Mediterranean, and Mesopotamia are concerned, is generally divided into Antiquity, the Middle Ages, and Modernity (which really just mean old age, middle age, and current age), while the “prehistoric period” is split up into the Stone Age, Bronze Age, and Iron Age. Antiquity is generally considered to start with the rise of the classical Greek civilization around the 5th century BC. (Which is convenient, as Antiquity also ends around 500 AD and the Middle Ages last to about 1500 AD, making it easy to remember.) It was a reasonably good idea to classify past human civilizations, but by now we know how to read Egyptian, Akadian, and Hittite and those people wrote quite a lot, so that we now have a lot of historic documents from the Bronze Age. So technically, it’s not really “prehistoric” anymore. But really, the main concern here is fantasy fiction, so when I use the term prehistoric, I mean the Stone Age, Bronze Age, and Iron Age. But even those terms are not perfect, as different parts of the world developed different technologies at different times or skipped some entirely. Southern Africa went straight from the Stone Age to the Iron Age, and it would be completely justified to say that people in Central America went straight from the stone Age to Modernity, skipping four of the six perioids completely.

And when I say “Stone Age”, I particularly mean the Late Stone Age, or Neolithic. Neolithic people didn’t have metal technology, but they were a far shot from being cave men. The Neolithic begins with the development and rise of agriculture, when people stopped wandering around hunting for food, but settled down in farming communities. And those could get quite sophisticated, with the Inca and Aztecs being great examples of how much you can do without metal technology. Conveniently for us, the move towards agriculture took place about 8,000 BC, which means from the start of human civilization to now it has been roughly 10,000 years. Always a good guideline for considering how much time passes between different periods in your fictional world.

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