The Farm 51 team chats with*VR-Zone about its upcoming title*Get Even, shedding light on everything from the game’s story arc to the influences that sparked the title’s development.
Earlier this month The Farm 51 released a cryptic, spooky, and damn good looking trailer for its upcoming next-gen shooter*Get Even. Partially composed of live-action video and footage rendered by the game’s engine, it’s one of the few next-gen game trailers out there that actually looks*next generation.
Check out the trailer below:
VR-Zone had the opportunity to delve into the mind of The Farm 51′s very own Wojciech Pazdur regarding the studio’s highly anticipated next-gen shooter, Get Even. On the heels of the game’s recent Steam Greenlight campaign, this interview brings in new depth to the upcoming game, giving it new shape and form to the somewhat cryptic reveal trailer.
VR-Zone:*Get Even isn’t your average shooter, and represents an unprecedented leap forward in innovative storytelling and gameplay. On your official page for the game, we see that you plan to blur the edges between singleplayer and multiplayer — might we have some specifics in how you will achieve this?
For virtually every action game, experience can be divided into two categories: the one where you feel emotions related to the story, getting to know game heroes, exploration, journey, mission, personal involvement and the second one, where you feel respect to your enemies and extreme doses of adrenaline come into your veins because you cannot predict your opponent’s move. First is single player domain, second is multiplayer niche.
We felt it’s worth of trying to combine these two experiences, not just like that, but because for a long time before we were shaping design of very specific game. In two opposite story campaigns, Get Even shows the fates of two heroes bond into some destructive and tragic conflict, so we needed a strong feeling of threat and realism that plays together with serious plotline. And on the other side, we tell very unusual story about traveling between different levels of reality, which are your and other people memories.
Asking a ‘what is real’ question like Neo in The*Matrix is a more-than-usual subject for the game characters. When after being shot you lose your consciousness and then you see yourself in some strange and rogue place where you’ve never been before, you may not know if this is a real world (and who moved you to this place) or dream in a coma. Or maybe you’re hallucinating from drugs in the hospital or maybe you’re dead, and this is your purgatory. Get Even does things like this with different game aspects and we want to keep a player asking himself about the borders of reality all the time. So when some hostile stranger comes at you with a knife or a pistol in his hand, you have to guess if he’s a real threat (you better assume he is), but maybe he’s just a phantom or, oppositely, the other player exploring his story where he sees you as an objective to eliminate.
Then the key is that Get Even shouldn’t be described as a multiplayer game, because its essence is not a competition with other players like in most of the online games. And it’s also not the cooperative gameplay, even if technically speaking both of these components are present in gameflow. Get Even is a story driven game where we allow other humans to invade your world and become a threat (or sometimes help) during their own quests. But there’s no frag score, leaderboards, no counter for matches won and failed, it’s always you and your story, sometimes interacted with other humans, sometimes with AI bots.
It brings a lot of unpredictability to the battlefield because seeing an enemy you never know if he’s the second player or AI character. Looking at his behaviors you can often realize the truth, but the game usually isn’t giving you enough time. After all, your enemy can be both smarter than you, but also have more reflex, no matter if he’s controlled by computer or other human. And the great thing is that he can be also less skilled or slower than you, but anyway you should show him some respect because you never can be sure if he plays according to AI schematics or to advantages and weaknesses of human abilities.
VRZ:*The two-minute “What is Real” teaser showcased a superlative visual flair that we don’t often see in video games. Can we expect this kind of cinematography to be prevalent within gameplay?
What you’ve seen in our teaser are in-game assets, mixed with some live-action camera shots. Why did we go this way? Well, because we’re doing the same in the game itself. Again, the ‘what is real’ question plays its role here. We decided not to go for making a Hollywood-like cinematic experience known from blockbuster games. Instead, we wanted to make something closer to real life, with its imperfections included. So you’re not exploring beautiful exotic locations shaped epically toward the art director taste.
It was a hectic work to bring this visuals to real-time engine with stable frame rate. Indeed, as far as we know, no one before us was doing it on such a scale, even if 3D scans started to appear in some games within last years. For quite a long time, with the help of few in-house enthusiasts, I personally had to fight against many voices of reason inside my team who were telling us it’s impossible and meaningless to follow this direction. First attempts to huge-scale scanning were giving us ugly objects that overfilled graphic memory of each game level with speed of light. But after months of sweat and tears, we finally managed to handle both quality and effectiveness of this art production method and now we are using it as a key 3D asset creation tool for Get Even.
VRZ: You mentioned something about the possibility of projects within the VR realm. Is it too early to tell if Get Even might make the transition to the Oculus Rift or even Steam’s own VR platform? And do you feel that VR is the future of gaming?
The key point of Get Even‘s VR usage is not to simply implement VR system controls, but to make the game about the world that utilizes VR concepts as no other setting could do. Subject of virtual, alternate, realities is the essence of the story and gameplay.
And I believe upcoming VR generation is not only future of gaming, it’s a huge leap toward changing the way we interact, entertain, socialize and do many of our daily tasks. Recent purchase of Oculus by Facebook surprised me only for few seconds, until I realized that the only shocking truth is that nobody expected things may go this way so fast. People have right to complain about putting exclusive geek’s technology into hands of mass-user web corporation, but as long as I don’t need to click Like for every enemy taken down in the VR helmet, if my games and apps can be designed the way I want to, I’m okay with opening this tech for a broader market and moving virtual reality close to everyone, not just gamers.
*[The current] prototypes still have glitches and display and response quality require a lot of work, but just few days ago, at GDC, you could see how quickly quality of consumer-oriented device and experience moved from first Oculus Rift DK to Crystal Cove Prototype or Morpheus. And now think what’s possible in next two years.
For me VR is potentially the same breakthrough as Internet 20 years ago. I’m old enough to remember elite of computer specialists who were able to use this magic stuff with their secret skills and who believed it’s not good if it became in range of everybody, because then it has to end with crappy content all over the world. And they were perfectly right – 99 percent of Internet is slime (maybe even 99.9 percent), but I prefer today’s usability, versatility and diversity of the global network over the text-based browsers and IP-logged mail servers running at 56kbps.
VRZ: Get Even is planned for a release on next-gen consoles and PC in 2015. Might you be able to highlight your experiences with each console — the Xbox One and PS4 — so far? Have there been any surprises or limitations between platforms you’ve noticed?
It’s still strongly encompassed by many non-disclosure terms in our case and we’re quite early in development of Get Even on consoles, so I can’t tell in details about our experiences with new machines yet. But besides of being able to use our hi-resolution visuals thanks to much more of memory and computing power, I’m happy that these platforms finally became open for all range of developers, not just AAA and first-party studios. On previous generation we released some games anyway, but as a marketplace there was a room mostly for very big and very small titles, nothing in the middle.
Today, because of a possibility to go for digital distribution and set different project scales (and prices), we do not have to compete directly with blockbuster titles or be pushed to go for tiny experimental projects. Developers can shape the project toward their teams sizes, skills and capabilities, and at top of it, both Sony and Microsoft are supporting medium and small development operations much stronger than in the past.
VRZ:*The game’s story arc feels shrouded in mystery. Can we expect layered plotlines with twists and cryptic secrecy?
Yes, but layered plotlines in case of Get Even may not be the best word to describe the essence the of the narrative. The main thing is that we tell two stories that are opposite to each other. There are two mysterious characters, codenamed Red and Black. Within their conflict escalation, at some moments they may appear as a victim or the oppressor of each other, but finally it’s for the player to judge them and decide about their fates. It’s very challenging to develop this story because we have many reasons to not make any of them good or bad guy, as well as not to operate on simple twists like suddenly turning their attitude with some triggers.
First, in both campaigns we need players to feel some empathy for their heroes even knowing that they have completely opposite interests. Second, we cannot reveal everything on finishing one of the campaigns and we have to leave a good point to play the other one. Third, we do not want to tell the story but rather to let players experience it. Being relatively small studio, we plan to not go for cinematic and linear storytelling present in mainstream games, which allows to deliver very strong and straightforward narrative, but could be too expensive for us, taking this generation expectations raised by some AAA-titles.
And, what’s even more important, which recently started to be proven as not the best way to generate immersion and empathy in mood-driven games.
Instead of cutscenes and dialogues, we build a story with gameplay tools, developing it around exploration, investigation, solving mysteries and discovering the truth on your own. It’s amazing for me to work this way, cause we can have some working, tangible and emotional parts of the story already present in the game at very early stage of the game, without need to wait until the animation team makes all mocaps, voiceovers are recorded and cutscenes are composited, what in the past usually happened just before the end of production. I believe this approach may result in less of ludonarrative dissonance (inconsistency between the gameplay and story parts), and it simply gives more freedom to the player.
If you want to progress in your game quicker, you may omit some narrative parts not by skipping the long cinematic cutscene. But by deciding how many story elements are interesting to you – we’re not delivering them as a challenges to overcome, but as simple interactive elements, with quite lot of variety. It worked well for Gone Home and in other forms also for few bigger titles, we see it as the best option for Get Even.
VRZ:*The graphics for Get Even are pretty amazing, and many have said that this is one of the new IPs that truly underline the power of next-gen consoles. What kind of engine powers Get Even, and might we ask what kind of advances you’ve made in its implementation?
We’re using Unreal Engine with many custom modifications, made especially toward our visual pipeline. The gameplay-related part of the engine is quite standard and here we did some AI and netcode re-work mostly for atypical mix of single and multiplayer gameplay.
But to show incredibly detailedly scanned locations in full glory on 3D and VR displays, we are, and we will be still working on mesh and texture streaming routines and compression methods, cause the uncompressed amount of data to be computed can be counted in gigabytes, not megabytes. The game already works very smoothly on quite standard rigs, but with following gameplay iterations we’re increasing sizes and arrangements of game levels, adding more objects and dynamic effects, so there’s still a lot to fight for.
VRZ:*What kinds of influences helped The Farm 51 shape the overall idea for Get Even? Is it something that was inspired by a particular movie, game, or idea — or is it a combination of efforts and ideas from the team?
The main idea for the story and setting appeared a long time ago, I’d say being inspired by some movies like The Butterfly Effect, The Matrix as well as Oldboy and Inception plus Source Code later. Both theory and practice of storytelling proves that all good and emotional dramas are built on conflict, so I wanted to present an ultimate clash on both narrative and gameplay level and to merge it into very essential creation where every element supports the core idea.
That’s why the game is named Get Even, because it depicts the conflict of two characters, focusing on their personalities, not mixing it with battles of armies, secret organizations or social orders. And at deeper level it’s also the game about internal conflict of each of us. By traveling to our memories and trying to alter them, we’re fighting against our bad decisions, things we couldn’t change because of our weaknesses or mistakes we couldn’t predict.
But it took a very long time to find a proper gameplay formula for experiencing this story. And to support the gameplay mechanisms, the layered realities setting was not only welcomed, but necessary. The shooting and combat in Get Even is a very important part of experience, but I believe for more mature players it will be clear that it’s not just a toy, but also part of conflict metaphor. We try to avoid delivering an epic shooting gallery, there are bigger and more mainstream games that are doing it very well. Get Even has quite unusual gameplay mechanics and this is where team efforts and ideas make a great job every day.
The problematic part is that in some aspects Get Even differs from any other game, so there is no single good reference point for solving design and balancing issues. This is why we need to attack from two sides: our obligatory must-play reference list for each team member contains many very different titles, starting from atypical action experiences like Condemned and Bioshock, moving through unusual stories like To The Moon, The Journey and Fahrenheit and ending with more or less classic shooters like Killzone, F.E.A.R. or Deus Ex.
VRZ:*Can we expect a traditional FPS layout for Get Even*– HUD display with a crosshair, mini-map, ammo counter, health and shields, etc. — or will the game feature its own new style?
In every of Get Even campaigns, it looks differently – but we do not want to use typical HUD displays for most of the time. On VR systems it’s rather disturbance and immersion breaker, and at the other side we got some well explaining gameplay tools and gadgets that are cooler than regular HUD counters and indicators. One of heroes has very customized smartphone that delivers a different data and it’s don’t simply moving HUD functions to an external device – everything is designed according to some real-world applications and tools available within current technologies.
The second hero mostly uses a custom VR helmet, but let’s keep it’s functionality a little bit secret for a while. For shooting itself, we decided we do not need an artificial crosshair, cause our gameplay is quite slow-paced and realistic, so aiming reticule, different optic and laser sights are working quite well so far. For letting you know about ammo level there are also other options than displaying the number, especially considering that in Get Even we’re not wearing and collecting a hundreds of rounds.
VRZ:*Thanks for your time.*
Read More: http://ift.tt/1e8bgEY
Earlier this month The Farm 51 released a cryptic, spooky, and damn good looking trailer for its upcoming next-gen shooter*Get Even. Partially composed of live-action video and footage rendered by the game’s engine, it’s one of the few next-gen game trailers out there that actually looks*next generation.
Check out the trailer below:
VR-Zone had the opportunity to delve into the mind of The Farm 51′s very own Wojciech Pazdur regarding the studio’s highly anticipated next-gen shooter, Get Even. On the heels of the game’s recent Steam Greenlight campaign, this interview brings in new depth to the upcoming game, giving it new shape and form to the somewhat cryptic reveal trailer.
VR-Zone:*Get Even isn’t your average shooter, and represents an unprecedented leap forward in innovative storytelling and gameplay. On your official page for the game, we see that you plan to blur the edges between singleplayer and multiplayer — might we have some specifics in how you will achieve this?
For virtually every action game, experience can be divided into two categories: the one where you feel emotions related to the story, getting to know game heroes, exploration, journey, mission, personal involvement and the second one, where you feel respect to your enemies and extreme doses of adrenaline come into your veins because you cannot predict your opponent’s move. First is single player domain, second is multiplayer niche.
We felt it’s worth of trying to combine these two experiences, not just like that, but because for a long time before we were shaping design of very specific game. In two opposite story campaigns, Get Even shows the fates of two heroes bond into some destructive and tragic conflict, so we needed a strong feeling of threat and realism that plays together with serious plotline. And on the other side, we tell very unusual story about traveling between different levels of reality, which are your and other people memories.
Asking a ‘what is real’ question like Neo in The*Matrix is a more-than-usual subject for the game characters. When after being shot you lose your consciousness and then you see yourself in some strange and rogue place where you’ve never been before, you may not know if this is a real world (and who moved you to this place) or dream in a coma. Or maybe you’re hallucinating from drugs in the hospital or maybe you’re dead, and this is your purgatory. Get Even does things like this with different game aspects and we want to keep a player asking himself about the borders of reality all the time. So when some hostile stranger comes at you with a knife or a pistol in his hand, you have to guess if he’s a real threat (you better assume he is), but maybe he’s just a phantom or, oppositely, the other player exploring his story where he sees you as an objective to eliminate.
Then the key is that Get Even shouldn’t be described as a multiplayer game, because its essence is not a competition with other players like in most of the online games. And it’s also not the cooperative gameplay, even if technically speaking both of these components are present in gameflow. Get Even is a story driven game where we allow other humans to invade your world and become a threat (or sometimes help) during their own quests. But there’s no frag score, leaderboards, no counter for matches won and failed, it’s always you and your story, sometimes interacted with other humans, sometimes with AI bots.
It brings a lot of unpredictability to the battlefield because seeing an enemy you never know if he’s the second player or AI character. Looking at his behaviors you can often realize the truth, but the game usually isn’t giving you enough time. After all, your enemy can be both smarter than you, but also have more reflex, no matter if he’s controlled by computer or other human. And the great thing is that he can be also less skilled or slower than you, but anyway you should show him some respect because you never can be sure if he plays according to AI schematics or to advantages and weaknesses of human abilities.
VRZ:*The two-minute “What is Real” teaser showcased a superlative visual flair that we don’t often see in video games. Can we expect this kind of cinematography to be prevalent within gameplay?
What you’ve seen in our teaser are in-game assets, mixed with some live-action camera shots. Why did we go this way? Well, because we’re doing the same in the game itself. Again, the ‘what is real’ question plays its role here. We decided not to go for making a Hollywood-like cinematic experience known from blockbuster games. Instead, we wanted to make something closer to real life, with its imperfections included. So you’re not exploring beautiful exotic locations shaped epically toward the art director taste.
It was a hectic work to bring this visuals to real-time engine with stable frame rate. Indeed, as far as we know, no one before us was doing it on such a scale, even if 3D scans started to appear in some games within last years. For quite a long time, with the help of few in-house enthusiasts, I personally had to fight against many voices of reason inside my team who were telling us it’s impossible and meaningless to follow this direction. First attempts to huge-scale scanning were giving us ugly objects that overfilled graphic memory of each game level with speed of light. But after months of sweat and tears, we finally managed to handle both quality and effectiveness of this art production method and now we are using it as a key 3D asset creation tool for Get Even.
VRZ: You mentioned something about the possibility of projects within the VR realm. Is it too early to tell if Get Even might make the transition to the Oculus Rift or even Steam’s own VR platform? And do you feel that VR is the future of gaming?
The key point of Get Even‘s VR usage is not to simply implement VR system controls, but to make the game about the world that utilizes VR concepts as no other setting could do. Subject of virtual, alternate, realities is the essence of the story and gameplay.
And I believe upcoming VR generation is not only future of gaming, it’s a huge leap toward changing the way we interact, entertain, socialize and do many of our daily tasks. Recent purchase of Oculus by Facebook surprised me only for few seconds, until I realized that the only shocking truth is that nobody expected things may go this way so fast. People have right to complain about putting exclusive geek’s technology into hands of mass-user web corporation, but as long as I don’t need to click Like for every enemy taken down in the VR helmet, if my games and apps can be designed the way I want to, I’m okay with opening this tech for a broader market and moving virtual reality close to everyone, not just gamers.
*[The current] prototypes still have glitches and display and response quality require a lot of work, but just few days ago, at GDC, you could see how quickly quality of consumer-oriented device and experience moved from first Oculus Rift DK to Crystal Cove Prototype or Morpheus. And now think what’s possible in next two years.
For me VR is potentially the same breakthrough as Internet 20 years ago. I’m old enough to remember elite of computer specialists who were able to use this magic stuff with their secret skills and who believed it’s not good if it became in range of everybody, because then it has to end with crappy content all over the world. And they were perfectly right – 99 percent of Internet is slime (maybe even 99.9 percent), but I prefer today’s usability, versatility and diversity of the global network over the text-based browsers and IP-logged mail servers running at 56kbps.
VRZ: Get Even is planned for a release on next-gen consoles and PC in 2015. Might you be able to highlight your experiences with each console — the Xbox One and PS4 — so far? Have there been any surprises or limitations between platforms you’ve noticed?
It’s still strongly encompassed by many non-disclosure terms in our case and we’re quite early in development of Get Even on consoles, so I can’t tell in details about our experiences with new machines yet. But besides of being able to use our hi-resolution visuals thanks to much more of memory and computing power, I’m happy that these platforms finally became open for all range of developers, not just AAA and first-party studios. On previous generation we released some games anyway, but as a marketplace there was a room mostly for very big and very small titles, nothing in the middle.
Today, because of a possibility to go for digital distribution and set different project scales (and prices), we do not have to compete directly with blockbuster titles or be pushed to go for tiny experimental projects. Developers can shape the project toward their teams sizes, skills and capabilities, and at top of it, both Sony and Microsoft are supporting medium and small development operations much stronger than in the past.
VRZ:*The game’s story arc feels shrouded in mystery. Can we expect layered plotlines with twists and cryptic secrecy?
Yes, but layered plotlines in case of Get Even may not be the best word to describe the essence the of the narrative. The main thing is that we tell two stories that are opposite to each other. There are two mysterious characters, codenamed Red and Black. Within their conflict escalation, at some moments they may appear as a victim or the oppressor of each other, but finally it’s for the player to judge them and decide about their fates. It’s very challenging to develop this story because we have many reasons to not make any of them good or bad guy, as well as not to operate on simple twists like suddenly turning their attitude with some triggers.
First, in both campaigns we need players to feel some empathy for their heroes even knowing that they have completely opposite interests. Second, we cannot reveal everything on finishing one of the campaigns and we have to leave a good point to play the other one. Third, we do not want to tell the story but rather to let players experience it. Being relatively small studio, we plan to not go for cinematic and linear storytelling present in mainstream games, which allows to deliver very strong and straightforward narrative, but could be too expensive for us, taking this generation expectations raised by some AAA-titles.
And, what’s even more important, which recently started to be proven as not the best way to generate immersion and empathy in mood-driven games.
Instead of cutscenes and dialogues, we build a story with gameplay tools, developing it around exploration, investigation, solving mysteries and discovering the truth on your own. It’s amazing for me to work this way, cause we can have some working, tangible and emotional parts of the story already present in the game at very early stage of the game, without need to wait until the animation team makes all mocaps, voiceovers are recorded and cutscenes are composited, what in the past usually happened just before the end of production. I believe this approach may result in less of ludonarrative dissonance (inconsistency between the gameplay and story parts), and it simply gives more freedom to the player.
If you want to progress in your game quicker, you may omit some narrative parts not by skipping the long cinematic cutscene. But by deciding how many story elements are interesting to you – we’re not delivering them as a challenges to overcome, but as simple interactive elements, with quite lot of variety. It worked well for Gone Home and in other forms also for few bigger titles, we see it as the best option for Get Even.
VRZ:*The graphics for Get Even are pretty amazing, and many have said that this is one of the new IPs that truly underline the power of next-gen consoles. What kind of engine powers Get Even, and might we ask what kind of advances you’ve made in its implementation?
We’re using Unreal Engine with many custom modifications, made especially toward our visual pipeline. The gameplay-related part of the engine is quite standard and here we did some AI and netcode re-work mostly for atypical mix of single and multiplayer gameplay.
But to show incredibly detailedly scanned locations in full glory on 3D and VR displays, we are, and we will be still working on mesh and texture streaming routines and compression methods, cause the uncompressed amount of data to be computed can be counted in gigabytes, not megabytes. The game already works very smoothly on quite standard rigs, but with following gameplay iterations we’re increasing sizes and arrangements of game levels, adding more objects and dynamic effects, so there’s still a lot to fight for.
VRZ:*What kinds of influences helped The Farm 51 shape the overall idea for Get Even? Is it something that was inspired by a particular movie, game, or idea — or is it a combination of efforts and ideas from the team?
The main idea for the story and setting appeared a long time ago, I’d say being inspired by some movies like The Butterfly Effect, The Matrix as well as Oldboy and Inception plus Source Code later. Both theory and practice of storytelling proves that all good and emotional dramas are built on conflict, so I wanted to present an ultimate clash on both narrative and gameplay level and to merge it into very essential creation where every element supports the core idea.
That’s why the game is named Get Even, because it depicts the conflict of two characters, focusing on their personalities, not mixing it with battles of armies, secret organizations or social orders. And at deeper level it’s also the game about internal conflict of each of us. By traveling to our memories and trying to alter them, we’re fighting against our bad decisions, things we couldn’t change because of our weaknesses or mistakes we couldn’t predict.
But it took a very long time to find a proper gameplay formula for experiencing this story. And to support the gameplay mechanisms, the layered realities setting was not only welcomed, but necessary. The shooting and combat in Get Even is a very important part of experience, but I believe for more mature players it will be clear that it’s not just a toy, but also part of conflict metaphor. We try to avoid delivering an epic shooting gallery, there are bigger and more mainstream games that are doing it very well. Get Even has quite unusual gameplay mechanics and this is where team efforts and ideas make a great job every day.
The problematic part is that in some aspects Get Even differs from any other game, so there is no single good reference point for solving design and balancing issues. This is why we need to attack from two sides: our obligatory must-play reference list for each team member contains many very different titles, starting from atypical action experiences like Condemned and Bioshock, moving through unusual stories like To The Moon, The Journey and Fahrenheit and ending with more or less classic shooters like Killzone, F.E.A.R. or Deus Ex.
VRZ:*Can we expect a traditional FPS layout for Get Even*– HUD display with a crosshair, mini-map, ammo counter, health and shields, etc. — or will the game feature its own new style?
In every of Get Even campaigns, it looks differently – but we do not want to use typical HUD displays for most of the time. On VR systems it’s rather disturbance and immersion breaker, and at the other side we got some well explaining gameplay tools and gadgets that are cooler than regular HUD counters and indicators. One of heroes has very customized smartphone that delivers a different data and it’s don’t simply moving HUD functions to an external device – everything is designed according to some real-world applications and tools available within current technologies.
The second hero mostly uses a custom VR helmet, but let’s keep it’s functionality a little bit secret for a while. For shooting itself, we decided we do not need an artificial crosshair, cause our gameplay is quite slow-paced and realistic, so aiming reticule, different optic and laser sights are working quite well so far. For letting you know about ammo level there are also other options than displaying the number, especially considering that in Get Even we’re not wearing and collecting a hundreds of rounds.
VRZ:*Thanks for your time.*
Read More: http://ift.tt/1e8bgEY
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