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As you guys might have already known (through my web-pages), that I am a die-hard video game fan (some might say addict, but I disagree). And being a fan, I have played a humongous amount of games. Amongst them, a special category probably the most sophisticated category) of games called "RPGs" are often the products of fierce fan following. And when i discovered online forums, I saw that people judged video games and even fought over them! Just like normal, daily going folks fight over their favorite actors, movies, or politicians. However, I found some extremely disparate and haphazard ways in which people judged the games, with few understanding the perspectives of each other. Hence I decided to give an analytical take to the problem. Below, I have divided my content into two parts. First being the analytical and objective assessment of a video game, and the other being the subjective liking of a video game and the factors that play into both. 

Objective Assessment of a Game is an assessment of several of its components, which are listed below: -

  1. Story

    • Realism​

    • Complexity

    • Uniqueness

    • Tightness

    • Grandeur/Epicness

    • Pacing

  2. Atmosphere

    • Music​

    • Art

    • Environment

  3. Game-play Mechanics

    • Combat​

      • Animation​

      • Abilities

      • Inherent Realism

      • Diversity/Relevance of Different Weapons/Scrolls/Objects

      • Cost of Every Action

    • Side Content

      • Proximity with Main Story​

    • Scalability

      • Relative Strength of Characters/Powers​

      • Enemies Leveling/Inherent Strength

    • Quest Design

      • Tediousness​

      • Hype

      • Explanation

      • Consequences​

    • ​UI Design​

      • Ease of Use​ (Bars/Inventory/Logistics/Maps)

      • Visual Attractiveness

  4. Exploration

    • Environment Interaction​ (of Gamer)

    • Tediousness

    • Banter while Exploring​ (with party and NPCs)

  5. Role-Playing

    • Game's Chosen Character​

    • Chosen Class/Race/Background Combo

    • Party Members and NPCs

    • Decision-Making

      • Rewards​

      • Impact

      • Pre-Warning

  6. Lore/World

    • Logistical Realism​

    • Complexity

    • Uniqueness

    • Saturation with Life/Activity

    • Game World Resource Sustainability

    • Unfolding of Lore with Progression

  7. Graphics​

    • View (F/T/3D/2D)

    • Graphical Clarity

    • Motion Smoothness

    • Lack of Bugs

    • Portability

  8. Narration

    • Cinematics​

    • Voice Acting

    • Writing Quality

  9. Replayability

    • Loot System​

    • Randomization

    • Customization

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While I will go into details of each and every point, its better to give a general definition of the other point, "Subjective Choice" first. It consists of the following points: -

1. Relative Weight-age to Each Point

2. Cultural Baggage Psychological Effect on Choices

3. Nostalgia Effect (First Come First Serve)

4. Genetic Predispositions towards certain things

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As you see, Subjective Choices are not related to the game at all, but more-so to the users themselves. That's why, when we get analytical, the room for disagreements lessens until it disappears when we perfect our analytical engine. However, in my case, it's not perfect, simply a step-up from random game discussions. Now, let's move onto describing the Assessment part, a bit more thoroughly.

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                                                                                                    STORY

Story has become a buzzword in the sense that it is used very casually, in an offhand way to describe entire movies and other multimedia expressions like games or TV shows. Sometimes, things that aren't related to the story are clubbed in with the story, and judgments are passed upon it.

To me, in short, the definition of a story in relation to a video game is nothing more than the summary that is written in the plot portion of a Wikipedia page. It's basically a description of the activities that lead to the happening of the game in the first place. And judging a story is not as simple as it seems, because watching a movie or playing a game, also clouds our minds with other aspects of the multimedia creation. 

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Realism of a Story is the plausibility of events that happen, to possess an organic 'drive' within themselves. Meaning, that the characters/events that lead to the presumably spectacular occurrence are not 'forced' or 'rushed' and have natural, organic, understandable driving forces. For example, if a story involves the invasion of some land or the search of some miraculous object, does the context provide enough justifications for those events to happen, or do they seem forcible compulsions by the author? A good example of a forcible plot is the sudden occurrence of a natural calamity in a small town, without any foreseeable driving force which makes the inhabitants, the most important people in the entire world of the game. A more natural plot can for example have the culmination of plotting for decades, some genealogical/chemical disorder in the chosen people, etc. 

Complexity of a story is a slightly separate aspect, which involves the breaking of the single thread of the main plot into several strings that branch out and eventually culminate together for the climax. Less complex stories aren't necessarily bad, but a badly stitched complex story is necessarily a bore. Complexity needs to be handled carefully, as it can make a story, an epic but only if its well thought out. An example of a complex story is Sherlock Holmes, Planescape Torment, Deus Ex, The Witcher 2 versus a simple story like 'Halo' or 'Age of Empires'.  Well done Complex stories usually leave you guessing but give you a satisfying feeling at the end. Most RPGs though possess a medium level of complexity, especially the ones which feature a new world (where writers had to create everything from scratch).

Uniqueness of the story is another aspect that is rated very highly by more 'nerdy' gamers than casual ones. It means how unconventional the game is to normal usual fantasy stuff we read in books and see in movies. For example, a very 'conventional' evil race is Orcs. It has been done to death from Tolkien's books to DnD and is still used in DnD games. An example of an unconventional story is 'Planescape Torment', which is loosely based on reincarnation and past lives and starts off in a mortuary than in an Inn. 

Tightness is a very un-intellectual term devised by me, which refers to how concentrated are the events in the game with the flavor of the main plot. Are there too many unrelated and oblivious things happening, or is almost everything of importance is somehow (subtly) connected to the main plot? Tightness is definitely a plus, but like complexity, it needs to be handled carefully. Too tight a game is referred to as linear and too dilute a game, bores people. Striking a balance is often tough, especially in a vast game world (a topic discussed later), where there are a lot of variables to take care of.

Grandeur or Epicness refers to the relative power scales of the creatures and incidents in the game. An example of a high power level/scale is a game with Gods, Dragons, Kings, and Aliens. A relatively humbler Grandeur is a game with villages and towns and a corrupt mayor or a dark knight as the peak of its epicness. Grandeur similar to Tightness, is a massive booster for a story if done well but is harder to handle and ruins the story if done shoddily. Grandeur also manifests itself in-game art (massive, well-done buildings), sequels (first game might introduce the gamer to the story, while the second might become more epic, like in Baldurs Gate Series). The shortcomings of Epicness is that it's relatively harder to explain the level of grandeur (the organic realism) perfectly. You might become a God in a game, but the way that led to it, the circumstances and consequences are much tougher to explain away.

Pacing is usually referred to be of a game than a story. Pacing is the speed in which the main quest/storyline progresses, hence I choose to call it a part of the story than the game. An unrelated example of good pacing in movies is AVENGERS: INFINITY WAR. The movie was intriguing and made us stuck to our seats till the very end. Similarly, AVENGERS: ENDGAME was an example of seriously bad pacing where the botched, 1 hr time travel sequence almost ruined the movie. Pacing is an overlapping aspect with Tightness, and it basically is related to speeding up the story. A story might be 50 hours long if done correctly, but with inadequate pacing, it might be shortened to 30 hours or lengthened uselessly to 75 hours even. 

                                                                                           ATMOSPHERE

Atmosphere of a game is a subtle and very powerful tool to make or break a game. It's not something you tackle or experience directly like an enemy or a challenge, rather it's experienced indirectly, like while roaming or exploring a dungeon. If some game makes you feel connected and teleported to the place on your screen, it means that the atmosphere is excellent. Atmosphere fills up the 'filler moments' in the game very nicely, or at least makes them much more bearable. A good example of a rich and apt atmosphere is the first two chapters of 'The Witcher'. The atmosphere is extremely melancholy and haunting, and you get the same feeling when you actually enter the game. You feel transported to a medieval town in reality. Similarly, the village Haven and the Mountain temple in Dragon Age Origins, gave an extremely unsettling and mysterious feeling, as if you are in a place that's untouched by civilization and morality for a thousand years. Diablo 2 is another great game made entirely by atmosphere and loot (due to which people disregarded its repetitive game-play). 

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Music is one of the most underrated aspects of the atmosphere. Incidentally, it's one of the primary reasons that a game gets likes on YouTube! Music is the soul of the atmosphere as it completely immerses you in the surroundings of a game/movie. One of the primary strengths of music is the ability to "thematize" a scene. Music determines whether a scene is haunting, terrifying, or serene. If it's strong enough, it can overpower the effect of art and lighting itself. And there are too many games with awesome music to give an example. So check out google for some intense, atmospheric music.

Art is the basic bread and butter of a video game. Without art, Game is an audio-numerical experience of mathematical formulas and computer programs. Judging Art without Graphics though is a bit tricky to explain. A lot of novices conflate art with graphics, whereas in reality, both are distinct. Art is the style in which characters, buildings, natural settings, etc are drawn, whereas Graphics are the resolution and clarity. A very simple example to distinguish art is comparing Final Fantasy or Chrono Trigger with Baldur's Gate or Neverwinter Nights. Japanese art is very distinct from European art. More subtle is distinguishing European arts (Eastern European from Western European from Southern European) or distinguishing one style with another (Paradox Studios vs Bioware). Art can also differ within studios, but it usually fits on the same pattern as the older ones. Art can change our perception drastically (good versus bad) about the game but usually, most games have an acceptable standard of art, so its mostly a moot point in a lot of discussions. One subtle aspect of art is the attention to detail, which usually is a positive regardless of the style of art.

Environment is a related part of Art itself. How it differentiates from art is that it involves a level of interaction of the character with the natural world, the level of detail while creating buildings and landscapes as well as making a certain portion of the world "interactable", meaning if you can pick up a stone as a weapon, hide amongst grasses or slope down a hill, rather than being a bland landscape. Climbing a mountain, observing the ripples of water while swimming in a lake, 

                                                                                      GAMEPLAY-MECHANICS

This part is one that engages you for the longest amount of time and ensures or destroys the replayability. After you finish the game once, why would you replay it? Obviously, because you want to enjoy the mindless immersion into the gaming world, rather than simply watch a movie of its cinematics and roam the countryside. From the developer's perspective, Gameplay mechanics involves the most intense concentration and ingenuity. Graphics are one-sided, Story is taken from professional writers but the game-play is designed from scratch from the designers and programmers. 

                                                                                                  COMBAT

Combat in games is as common as drama in movies. It's the way through which you gain experience, defeat evil, and save the world. Although a few rare masterpieces like Planescape Torment don't use combat but such games are rarely successful on a mass level. Hence, a good combat system is very important.

Animation and Impact are mostly products of the Gaming Engine used. More than Game Designers, Game Programmers have their hand in the brilliance of this aspect. And this is mostly a straightforward, linear curve because animations, impact, etc don't get worse. They just get better with age. Sword impact, boulders crashing, arrows piercing, bullets discharging, magical vapors emanating are all components of this aspect. one good example of a game excelling in combat animation but not in everything else is Dragon Age 2, (compared to its predecessor at least).

Abilities are the techniques, spells, battle tactics, etc used by the protagonists and the opponents. Excellence in Abilities means that the abilities used are interesting, realistic, and versatile. Meaning, that no one class or ability is overpowered or an ability actually makes sense (meaning no random multicolored bolts but explained more like elemental magic, knightly shouts, and arrow rains, etc). Progression in abilities is also gameplay mechanic which brings in variety in the leveling up procedure. If all your leveling up does is increase the range of your spells, would you look forward to leveling up? Introducing new spells and abilities for each class, keeping them distinct is a brilliant way to keep gamers engaged. 

Inherent Realism of combat is basically related to how many hits, magical attacks can beings of different vitalities take before going down. Can a man take 10 hits from a Dragon's maw? Can a super high powered knight crush a massive wolf in 2 hits? Things like this are connected to the inherent realism. It's also related to the ammunition stock for the characters and armies in the game. Is Magic sourced from somewhere or is it endless? Are bullets and arrows endless? Is the summoning creatures creating organic living breathing creatures from thin air, is it calling them from some surreal plane?

Diversity/Relevance of Different Weapons/Scrolls/Objects is more of a personal observation while playing various games. I have played around 9 or more RPGs so far and one thing common in most of them was the noticeably small amount of game world's equipment that we used for battle and other operations. 90% of the equipment was mostly sold off to gain more and more gold, which in the end was mostly useless for a comprehensive player. Not only weaponry but all the spell scrolls, wands, etc were sold off. Now, one reason for this could be the game design, in which you as a player character can only use weapons and other equipment specific to your own class. Another reason could be the character customization, where most "magical" equipment can't be used by a "non-intelligent" warrior class. Divinity Original Sin was a game where i experienced the usage of the maximum amount of weaponry. A Game with more "manipulable" equipment is definitely better than a game with few things to use. 

Cost of Every Action is an expression concocted by me to describe the harsh realities of life, that are often absent in video games, oftentimes for ease of use purposes. If your character gets stabbed, do you bleed or do you bleed only wen "bleeding" is triggered? Do you heal while you explore? Do you level up and improve strength by doing purely talking quests? Does your village have enough to eat while its under siege? Can you buy all of the vendor's merchandise and still leave the village with plenty of food? Such costs are tremendously difficult to implement and often make the game very unplayable but should be incorporated for a better, more immersive experience. Only issue is that implementing them is very hard and needs considerable technical understanding.

                                                                                         SIDE-CONTENT

Side Content refers to the humongous amounts of side quests, puzzles, enemies, combat, shops, locations that are not related to the main story. The relevance of the side content again improves the game in many aspects and makes for a "sandbox" experience. Skyrim and all of the Elder's Scrolls series are known mostly for their side quests and customization, rather than their main plot. Though much of what is in the side quests will be overlapping with the other points that I made here, there is one specific point that we will be touching on here, which is unique to "Side Content".

Proximity to the Main Story is self-explanatory and though it might or might not hamper the game's experience. Usually, a 30-50% proximity wit the main story can be considered both enjoyable different as well as sufficiently close. If the side quests are oblivious to the main plot of the game, it will be considered tiring and wasteful, while if it's too intimately associated with the main story, it won't impart a diversifying flavor to the game. 

 

                                                                                            SCALABILITY

Character/Enemies Strength Lorewise â€‹is a realization that you get after finishing a game. Was the monster that we fought int he game, really the biggest threat to the continent? Were the magicians in our nation, the strongest in the entire world? Can our knights challenge demons from hell? Of course, for the purpose of creating a game, there are fights engendered and conclusions are made, which in reality are somewhat impossible. For example, in Avengers Endgame, the entire universe consisting of billions of galaxies, which has so many powerful enemies capable of incinerating entire planets, turns to earth for the protection of six primaeval stones. I mean seriously! No one else apart from mundane and technologically infantile earth was the only plant to rise against Thanos (successfully).? It seems bizarre in retrospect.  That's why Epic plots are hard to handle. For example, if your city has the most powerful necromancers and monsters, what is so special about your city? Why can't such beings exist elsewhere? The "Most Powerful" trope is seriously misused nowadays.

Levelling/Different Area-wise Strength is a more specific, numerical aspect of the game. It basically means that when you move from area to area (oftentimes after levelling up), you encounter enemies with vastly different power levels (to make for enjoyable gameplay). However, this begs the question, are really some areas, lesser or higher in power than others? Does one city have guards who can't fight level 2 characters, while others have guards who can flatten entire orc armies? Do orcs from one tribe vary wildly in power from orcs of another tribe? In Baldur's Gate, for example, Amn seems to be chock full of extremely powerful knights and spellcasters while Baldur's Gate is only composed of petty weaklings, purely because of levelling design. the solution to this problem is to channel the game in such a way, that you encounter hordes of weak enemies in similar areas (while you are differently levelled in both), and powerful enemies only in certain areas, which have a lore-wise reason for it. Enemies can't be level 16 and level 9 in similar areas just because of levelling requirements. 

                                                                                          QUEST DESIGN

Tediousness generally refers to the time consumption of a quest, while doing tasks that give you no pleasure. Additionally, the repetitiveness of certain tasks also has a tendency of increasing tediousness. Playing fetch, collecting artefacts, and resolving disputes are usually considered tedious, while battling monsters, finding a location, or dialogue-based quests are not considered tedious. Minimizing tediousness is one of the simplest gaming optimizations that a game designer can make.

Hype of a quest is the anticipatory excitement that certain NPCs, incidents and general after-effects fill you with. For example, your main quest in a particular area is to find and slaughter a scary monster, you will be hyped into the brim by people telling you scary stories, showing the dragon's handiwork and/or observing dragon's minions bullying people. Anticipation is a trick used mostly by children's book writers. They hype up things to a frenzy and then when you meet the subject in question, a massive climax is unleashed (depending on how well it's executed). Icewind Dale has brilliant hyping infrastructure to its main quests, where you are consistently told about the dangers and mysteries afoot. Dragon Age Origins hypes you to brim about Archdemon. Watcher's Keep, a dungeon in Baldur's Gate 2, hypes you up (scares) about the Imprisoned One, sealed at the bottom. 

Explanation is related to the clues/hints given in journals, in-game elements and dialogues, which explain the quests, especially the more esoteric ones. Searching with clues is relaxing while searching without clues is taxing, not really the favourite of the majority of gamers, especially the adult, casual ones. Powergamers prefer tough challenges, while casual ones prefer comprehensive experiences. A good explanation can be either written in your journals and/or discussed by your characters/party amongst themselves or given amply visible clues in-game environments.

Consequences of a quest are somewhat similar to the consequences of decision making, but they are not game-breaking or changing. They are simple after-effects that are clearly visible and make some small difference to the gaming world. For example, if you did a simple fetch quest for a blacksmith, his inventory should change considerably and the results of his labours should be visible amongst the village/town as well. This factor, along with experience makes it more interesting to play a game, as you see the fruit of your labour, with a consistent frequency.

                                                                                          UI Design

Ease of Use​ (Bars/Inventory/Logistics/Maps) means how easily can you navigate through the game world through the User Interface and make use of the different aspects of the game. If you find it hard to figure out where exactly are the attributes or the abilities, or if you find it tedious to perform inventory management, it basically means that the Ease of Use is not up to the mark. Sometimes, in Strategy games, carrying troops from home town to the battlefield is extremely tedious. That's bad logistics. Sometimes, arranging items in your inventory, crafting, and changing characters from better crafters to main characters becomes mind blanking. They take up the majority of the time that you set aside to play the game.

Visual Attractiveness is simply judging the artistic rendition of your game's inventory. Note, it doesn't refer to graphics, but to the concept of art, colours, and design. Diablo 1, for example, had an old school, gothic look of its blood and mana containers, while later games had more mundane and less 'macabre' designs. The same concept applies to the gam's art (mentioned already above).

                                                                                         Exploration

Exploration is a major component of any RPG, as it is a component of real-life adventuring. While going to a new place, people often explore the place first, then interact with others. Exploration entails enjoying the scenic surroundings, figuring out various new paths, and in general, inhaling the essences of the world around in yourself. A good exploration again can be broken down into various parts, which are: - 

                                                                      Environment Interaction​ (of Gamer)

Gamer means the Protoganist, and the interaction of the Protoganist with the world refers to the usability of grass, dirt, stones, climbing mountains, and swimming in the water. And the usability of such environmental variables for combat, stealth, and in-game progress, also adds to the brownie points for exploration. Most RPGs have such extensive dialogue and combat with ultra level graphics, that it's pretty hard for them to add sizeable interaction with environment., without exponentially increasing the size and game-making time (thus delaying the release date). Even though environmental interaction is not groundbreaking or requires little ingenuity, it certainly can improve the game experience by a lot. Prince of Persia 3D had an incredible amount of jumps, climbs, and other interactions with the walls, which kicked ass in itself, but the game size was so huge that it led to a reduction in other aspects of the game. Balancing size versus performance is a riddle that will be solved by scientists, not philosophers like me!

                                                                                       Tediousness

This refers to the time-consuming aspect of the game where you actually have to either look hard at the screen or travel vast distances on the map to find something (or take it back). While, size and scenic beauty add to the fun, too much of travelling back and forth is irritating and game intensity reducing. So, the programmers have to make the map such that back and forth travel is less and there should be no dick-measuring contest amongst gamers in terms of how to spot certain things, rather hints should be there for everyone. Pleasure in experiencing the secrets is more than in discovering something.

                                                                Banter while Exploring​ (with party and NPCs)

Banter refers to characters within the party as well as the NPCs (Non-Player Characters) talking amongst each other. Banter can be funny, serious, epic, or tragic, however, it should be related to somehow exploring the map. One good example of exploration banter is when the Warden and his fellas are exploring the Dwarven City and the Deep Roads for the first time. They are discussing the beauty of the architecture, the mystery of the tunnels, and the anticipation of the monsters that come next. This component of the exploration adds a touch of liveliness to the place. Baldur's Gate 2, Dragon Age Origins, Planescape Torment, Mass Effect, etc are some games that are memorable for the companions and the banter that followed. Personally, I preferred Dragon Age Origins companions as the best of all time.

                                                                                            Linearity/Choices

Linearity or Variability refers to the way in which, people can explore the game world. If you are forced to go from point A to B and then to C, then it's linear while if you can choose C first, it's non-linear. Apart from exploration, the way in which a quest can be done is also a part of "linearity vs non-linearity debate". A quest that can be resolved in 4 different ways (depending on the player character's race, decisions, etc) is definitely non-linear. Usually, non-linearity adds to more depth in the game, if you don't become a meta-gamer/completionist on your first walkthrough. However, linear games are not necessarily bad if other variables are taken care of.

                                                                                      ROLE-PLAYING
Role-playing aspect of a game is something that is specific to RPGs only. It basically means that your decisions are acknowledged and make a meaningful impact on the game. It is deceptively simple though, especially in sequels and third versions of the game. Even in the innovative introductory games, meaningful decisions are hard to create, because it doesn't only change dialogue options, but also the environment around you. Scale obviously makes the implementation of it harder but it's still possible. Role-Playing aspect of the game also refers to immersing yourself in the character, be it the race/class/customization you made or the chosen background given by the developers. Implementing a brilliant role-playing experience is one of the foremost requirements of a good game.

                                                                            Game's Chosen Character​

Chosen Character refers to the character's origins as described by the gaming lore. Usually, a heroic saga begins with a special somebody because he or she has to overcome the prevailing hierarchy, government, monsters, and villains. If an ordinary man was able to do it, miracles would abound dime a dozen. Hence, a special background is necessary, and the extent to which a game can implement it reinforces that game's role-playing aspect. And how good you feel in the shoes of the chosen one is a sign of good role-playing experience.

                                                                 Chosen Class/Race/Background Combo

The customization that players can do to their characters is one of the most fun parts for casual gamers. There are endless changes you can do in the aesthetics itself, not even including the functional changes that are endlessly fascinating for gaming nerds. Whatever the product of this exercise, the purpose of the rest of the game is to make you feel at home with that character. One good example in Baldur's Gate 2, where the specific stronghold and the different quests you can undertake while in the outposts, vary quite markedly from each other. Apart from the different dialogues and interactions that one can have within the game, different possible endings, and scenarios are also some examples of uniqueness that can be imparted to the game, to fortify the game's roleplaying aspect.

                                                                            Party Members and NPCs

Party Members form the core of your companions in the journey. Companions support you in battle, provide chit-chat and quests, and provide emotional support during the long journey. Having memorable companions intensify a game's cinematic experience. Things that make a great companion are the dialogue, the memorable quests, and sometimes even their appearance. Even the NPCs are a great addition to the game, as sometimes people remember the lines of the vendors, the shopkeepers, and the quest givers are extremely memorable, not really likeable but still worthy of remembering. Personality of a companion, especially if either extremely stereotypical or very irregular, are some of the most remembered. 

                                                                                     Decision Making
Decision Making is the depth to which the game has made the choices made by the player, memorable, useful & consequence worthy. Linearity is usually considered the antithesis of Decision Making, as having restricted the player's actions. However, linearity is somewhat distinct from a bad- decision making implementation. Decision Making refers to the player's choices and their impacts. Linearity is more about exploration and the number of ways, a quest can be done. It's discussed in Exploration, in more detail. A Linear plot can still have brilliant (though subtle and short) decision making, like the area of Lower Dorn's Deep as shown in Icewind Dale. A non-linear game like Baldur's Gate 2, can still have shoddy decision-making (though overt and grand), like the one in the choice between Bodhi and Aran Linvail, where for all practical purposes, Bodhi side was useless. 

    • Rewards​

      • Impact

      • Pre-Warning

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