Friday, February 22, 2013

Campaign Design - The Lords of Heaven: Forseti

Forseti (Neit)

The Questing Lord; The Fist of Heaven; Celestial Lord of Justice and Victory

Alignment: Lawful Good.
Domains: Celestia, Courage, (Crusade), Crusader, Exorcism, Leadership, Victory
Summon Monster: Forseti's clerics and favored souls can summon axiomatic and celestial creatures using summon monster spells.
Symbol: An upraised fist wearing a silver gauntlet on a blue field.
Favored Weapon: "The fist of victory" (spiked gauntlet).
Related Prestige Classes: Paladin.

Forseti is the son of Woda and Eiur, and one of the four brother gods affiliated with the Church of Eiur. When he and his three brothers and their two sisters set out to recover the infant Füllar from the clutches of Kivutar, it was Forseti who led the expedition. During the War in Heaven, Forseti personally battled several of the powerful demon lords from among the infernal forces, and cast many of them down into the pits of Hell. Because of this, Belial, Gangyn, Kalma, and Sirchade hold a special animosity towards Forseti.

While Heim is the divine guardian, and Tiwas is the divine judge and oath keeper, Forseti is the agent of divine justice and retribution. Legends in which he features almost always portray the celestial on a quest to hunt down and either slay his quarry, or bring a terrible foe back for judgment. When Forseti is not tracking down and destroying fiends, he is said to live in a great hall named Glintir that glows with a holy light and is supposedly filled with the ranks of his devoted followers whose souls he has assembled to battle at his side in the next war against demon kind.

Paladins who follow Forseti are usually members of a religious order known as the Order of the Gauntlet, a crusading order that is devoted to hunting down and destroying or exorcising fiends, demons, and evil villains. His priesthood is militant, comprised of hunters who track down demons and those who seek to evade justice. His church is one of the subordinate faiths to Eiur along with his two surviving brothers. His followers are primarily men, and his priesthood is composed primarily of clerics and paladins, although his clerics and paladins sometimes become scouts as well so as to better be able to track down their chosen quarry.

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Wednesday, February 20, 2013

Campaign Design - The Lords of Heaven: Eiur

Eiur (Danu)

The Mother in Mourning; The Light in Darkness; Celestial Mistress of Family, Light, Motherhood, and Fertility

Alignment: Neutral Good.
Domains: Community, Family, Fertility, GoodHealing, Light, Nourishment.
Summon Monster: Eiur's clerics and favored souls can summon celestial and fioð creatures using summon monster spells.
Symbol: A shock of wheat.
Favored Weapon: Sickle.
Related Prestige Classes: Paladin, Radiant Pelerine.

In legend, Eiur is mother to Forseti, Heim, Syfa, Rúadan, and Tiwas. Eiur is regarded as the greatest of all healers, and after the War for Heaven, Eiur treated many of the great wounds that were inflicted upon the host of the gods. The tales of the Celestial Lords hold that without her care, many of heaven’s warriors were so badly wounded in the conflict that they would have been unable to resist the renewed efforts of those they had cast out. She also is regarded as the mistress of mourners, as she is said to have originated the keening mourning wail when she mourned for her fourth son Rúadan after he was killed in the War for Heaven. In legend, she gives comfort to those who have lost loved ones, despite her own perpetual sorrow. Eiur is closely associated with harvesting mistletoe, which is considered to be her holy plant.

Eiur is one of the most popular celestials among the Lords of Heaven, and her churches are common throughout the lands. She is the patron of mothers, family, and fertility, and also presides over the harvest. Eiur is sometimes described as the Lady of Light, as she brings hope when hope is lost, and aid to those who are unable to care for themselves. Her temples are always built in conjunction with those of her three sons, the brother gods Forseti, Heim, and Tiwas. Only women may become clerics of Eiur. Some of her most devoted priestesses are the Pelerine Order, who take vows against causing any harm, instead dedicating their lives to healing the sick and wounded and providing safety and comfort for the weak.

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Tuesday, February 19, 2013

Campaign Design - The Lords of Heaven: Caire

Caire (Nari)

The Bard of Heaven; The Opener of Ways; Celestial Lord of Poetry, Song, and Travel

Alignment: Chaotic Good.
Domains: Doorways, Fæy Roads, Liberation, Portal, Renewal, Sound, Travel
Summon Monster: Caire's clerics and favored souls can summon anarchic and celestial creatures using summon monster spells.
Symbol: A golden harp.
Favored Weapon: "The traveler's friend" (scrub knife).

Legends say that Caire was born mute, a condition that not even the powers of the Lords of Heaven could remedy. Stories say that he traveled the world searching for a cure for his muteness, finding and following all of the secret trails and passages that exist in the universe. In his journeys, Caire studied until he was the most skilled musician ever, capable of playing any instrument with unsurpassed skill, but his favorite was always the harp. During the War in Heaven, Caire traveled by secret ways known only to him and rescued Aíne from her confinement, disguising himself and then charming many of her guards into an enchanted sleep with his music.

After the War in Heaven, Caire was given a mourning poem written by Euir spelling out her most desperate longing for her dead son Rúadan, which Caire set to music. When the time came to perform the piece, Caire was so overcome with its beauty that he broke into song and was cured of his muteness. After he gained the power of speech, Woda inscribed magical runes on his tongue and made him the Bard of Heaven.

Caire is a champion of the underdog and the voice of the voiceless, favoring the use of guile, wit and skill to overcome obstacles. Caire is associated with the gecko, an animal that uses trickery to confound its enemies. Caire is held in high regard by halflings, who regard him, along with Aíne, as a patron of their race. Bards, travelers, and rogues frequently worship Caire, drawn to his love of confounding his enemies and rejection of the strictures of authority.

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Monday, February 18, 2013

Campaign Design - The Lords of Heaven: Brid

Brid (Fræya)

The Lady of Stars; Dancer in the Twilight; Celestial Mistress of Love, Beauty, and Dance

Alignment: Chaotic Good.
Domains: Beauty, Dance, Fæy, HeavenJoy, Love, Pleasure.
Summon Monster: Brid's clerics and favored souls can summon anarchic and celestial creatures using summon monster spells.
Symbol: A nighthawk crowned with stars.
Favored Weapon: "Stars in twilight" (shuriken).

Brid is Yng's consort, the twilight star that follows the glorious light of the sun. She is always depicted as a tall, beautiful woman with silver hair and stars on her brow that glow with an unearthly light. Brid is always accompanied by a dancing troupe of fæy - most commonly nymphs, dryads, and sylphs, but any kind of fæy can be found among her ensemble.

Brid is the patron of passionate love, romance, and lovers. As such, she is impetuous, often rash, and sometimes shortsighted, causing the steady Yng no end of headache as he is called upon to extricate her from whatever predicament she has most recently gotten herself into. Stories in which Brid rushes headlong into assisting some young lovers and finds herself in need of her husband's assistance to fix the impending disaster she has caused are common in the folktales of the Three Worlds. She is also the patron of dance, and in legend she and her troupe of fæy handmaidens are often seen by heroes from afar as she twirls and leaps in the rising of eventide to joyously welcome the stars. Such travelers must be wary or find themselves drawn into the celebration and find themselves caught by Brid's beauty and charm cavorting away the years of their life in her band of performers. In some tales, she has been known to give advice to those she comes across in this manner if she thinks their cause worthy (and for Brid, endeavors involving romantic love are those that she is most likely to find worthy), but one consistent theme is that even though such counsel is always well-intended, the recipients of such advice often find it to be of somewhat dubious usefulness.

In the War in Heaven, Brid fought little, but did confront the demon mistress Kivutar, whose perversion of the act of love had precipitated the conflict. Filled with righteous indignation, Brid rained stars and færie magic upon the Demon Mistress of Lust, setting the vile being aflame with holy fire and driving her from the field of battle back into the infernal realms.

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Sunday, February 17, 2013

Campaign Design - Religion in the Three Worlds: The Lords of Heaven

The divinities venerated by the inhabitants of the Three Worlds are roughly divided into two camps: the Lords of Heaven, also called the Celestial Lords, (listed here), and the Lords of Hell also called the Demon Lords. The Lords of Heaven are available as divine patrons for the players in the campaign to choose (while the Lords of Hell, for the most part, are not). Clerics, favored souls, and paladins must choose a specific divine patron, while other characters are not required to. Although most druids honor the y'Grym, a substantial number honor one of the Lords of Heaven, specifically Eiur, Syfa, or Vali. In the campaign, most people don't regard as particular Celestial Lord as especially more important than the others, calling upon their favor when they need some sort of benefice that is within that particular Celestial's sphere of interest.

Each Celestial Lord is listed with two names, one in Rhadynnic and one in Sorglish, as they are known by different names among speakers of those two languages. The detailed descriptions of each individual Celestial, which can be reached by clicking on their names, includes game information for clerics and paladins devoted to their service. The nineteen Celestial Lords and Mistresses and their respective spheres of influence are:

Aíne (Rhiannon), The Herald of Heaven; Celestial Mistress of Diplomacy, Commerce, and Halflings
Brid (Freya), The Lady of Stars; Dancer in the Twilight; Celestial Mistress of Love, Beauty, and Dance
Caire (Nari), The Bard of Heaven; The Opener of Ways; Celestial Lord of Poetry, Song, and Travel
Eiur (Danu), The Mother in Mourning; The Light in Darkness; Celestial Mistress of Family, Light, Motherhood, and Fertility
Forseti (Neit), The Questing Lord; The Fist of Heaven; Celestial Lord of Justice and Victory
Füllar (Llugus), The Oracle of the Heavens; Celestial Lord of Fate, Gnomes, Prophecy, and the Wheel
Heim (Nuada), The Defending Lord; Guardian of the Gates; Celestial Lord of the Silver Hands and Eyes; The Stalwart Counselor; Celestial Lord of Guardians
Hler (Llyr), Lord of the Waves; The Unrelenting Lord; Celestial Lord of the Seas and Waters
Hlín (Damara), Keeper of the Sacred Flame; The Defender of Refuges; Celestial Mistress of Hope, Home, and the Hearth
Hœnir (Viswa-Nîn), The Machine Who Makes; The Iron Lord; Celestial Lord of Constructs, Engineers, and Ironborn
Lódur (Fionn), The Many-Faced Lord; The Spy of Heaven; Celestial Lord of Changelings, Shapechangers, Luck, and Gamblers
Rúadan (Donn), The Dead Lord; The Scourge of the Risen Dead; The Watcher of Graves; Celestial Lord of the Peaceful Dead
Syfa (Andate), The Lady of Swiftness; The Autumn Queen; Celestial Mistress of Nature, Forests, and Beasts
Þunor (Taranis), The Thunderer; The Fury of the Storm; Celestial Lord of Thunder, Storms, and Strength
Tiwas (Toutatis), The Binder of Oaths; The Golden Arm of Justice; Celestial Lord of Law and Judges
Vali (Macha), The Raven of Battle; The Savage Huntress; The Tracker in the Wilds; Celestial Mistress of War and the Moon
Woda (Oman), The All-Father; The Blind Lord; The Runecaster; Celestial Lord of Magic and Knowledge
Wünd (Wreylund), Lord of the Forge; The Dwarf Lord; The Divine Crafter; Celestial Lord of Smiths, Craftsmen, and Dwarves
Yng (Freyr), The Lord of the Golden Disc; The Lord of Many Colors; The Summer Lord The Great Master of Winds; Celestial Lord of Sunshine, the Sky, Archery, and Creatures in Flight

While no Celestial is generally regarded "more important" than another, some are more popular than others. The most popular is Eiur, because of her emphasis on healing, motherhood, family, and growing things, making her well-loved among most people who desire a happy, healthy life. Her faith is affiliated with those of her three living sons Forseti, Heim, and Tiwas, and most of her temples also house shrines to their worship. Their emphasis on protection, justice, and the law makes them popular Celestials as well, and the temples of the mother and her three sons are common throughout the Three Worlds. Woda, despite being Eiur's spouse and ostensibly being the ruler of the Lords of Heaven, is far less popular, because his particular sphere of influence - history, learning, and arcane knowledge - is of far less concern to most people. On the other hand, Woda is quite popular among wizards and sages, and centers of learning are often dedicated as holy places devoted to him. Aíne is also quite popular, because of her dominion over trade and commerce, and most market squares include a small shrine consecrated to her. Þunor is more popular among warriors than the mercurial and unpredictable Vali, but most people look to Þunor's spouse Syfa to calm his rages. Celestials devoted to a particular demi-human race are understandably popular among the members of those races. And so on.

The central event of the mythology of the Three Worlds is the War in Heaven. Originally sparked by the birth of Füllar resulting from Kivutar's deception and resulting seduction of Woda, the conflict climaxed when the Lords of Hell led the Infernal Host in an effort to storm the very Gates of Heaven and depose the Celestial Lords, with the ultimate goal of installing themselves in their place. The War in Heaven was long and brutal, with the back and forth conflict establishing many of the bitter enmities between the various Celestial and Demon Lords. Eventually, Füllar sided with the Lords of Heaven and his insight allowed the Lords of Heaven to prevail over their foes. All of the Demon Lords were cast out of Heaven and imprisoned in Hell.

The War in Heaven was arduous and expensive even with Füllar's aid, costing Tiwas his right arm, Heim his hands and eyes, and their brother Rúadan his life. After the War was concluded, Füllar prophesied that there would be a second great war between the forces of Heaven and Hell at the ending of the world, along with many predictions of what would happen in that final battle.

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Saturday, February 16, 2013

Campaign Design - Religion in Dungeons & Dragons

Religion in Dungeons & Dragons has always been something of a conundrum for me. While on the one hand, the system has elements that are built in that assume a polytheistic arrangement, the base elements of the system are heavily weighted in favor of monotheism.

Way back in the mists of time when role-playing games were first being developed, the games were more or less just an adjunct to wargames. Some versions of early role-playing games were nothing more than a side element of a larger wargame - the main wargame would involve a medieval army laying siege to a fortress, and the "role-playing" element took the form of the participants taking the roles of heroes from the besieging army infiltrating into the fortress via the castle sewers. This resulted in the idea that players would play a single character, and also more or less originated dungeon crawling.

But the important facet of the game was that even though each player was responsible for a unit consisting of a single individual, these were not really characters. They were military units in a wargame. and they all had roles to fill. Fighters were for fighting things. Wizards were for blasting things. And clerics were for healing. Thieves were added later, as were all of the other character classes. There was no real thought given to where clerics derived their powers. They were a wargame unit with a certain array of abilities. They were not as good at fighting as a fighter. They were not good at blasting like a wizard. And they could heal. That was pretty much the sum total of thought put into the game design element. And that works perfectly fine for a wargame.

Eventually, the game that would become Dungeons & Dragons reduced the focus of the wargame element and made the role-playing more important. And note that I said "reduced", not "left behind". Because if one goes and looks at the old first edition Dungeons & Dragons books, the tendrils of its wargame association weave throughout the rules. Distances are expressed in inches. Time passes in the game in segments, rounds, and turns. The game directs players to put together a "marching order", and have one player be the conduit of information to the DM. Characters are assumed to aspire to build a fortress and draw together an army of followers that they could put into the field. And so on and so forth. And the basic character classes reflect this. Which meant that clerics still held to their role as healing batteries for the other players.

In these early years of Dungeons & Dragons, that was pretty much all the thought that was given to religion. Clerics came in two flavors: good and evil. Good clerics refused to shed blood (using bludgeoning weapons) based upon the fact that Bishop Odo (the brother of William the Conqueror) used a club as a weapon. Good clerics could heal others and had a collection of magic that mostly bolstered their allies plus a grab bag of spells drawn from various effects found in places like the Bible, medieval tradition, and a couple other places. Evil clerics had magic that was mostly just the magic of good clerics reversed. For some reason, evil clerics also retained the prohibition on using non-bludgeoning weapons as well. In effect, the game assumed something more or less akin to a pseudo-Catholic medieval church transported to whatever fantasy land the adventures were set in, and didn't really clarify things much further.

And when one looks at old published adventures and game materials from that era, it is clear that this fairly simple paradigm of religion in D&D reigned supreme. When the paladin class was introduced into the mix, it fit alongside the medieval pseudo-Catholic cleric in the role of a crusading zealot out to smite unbelievers and evil-doers. The fact that evil clerics were the exact opposite in many ways from good clerics also explains the constant drumbeat of players wanting to know when the rules for an "anti-paladin" would be put forward. After all, if you have what amounts to a cleric and anti-cleric class, then you should have a paladin and anti-paladin. For the relatively wargamish style of dungeon delving adventures that dominated the early years of role-playing in Dungeons & Dragons this system worked perfectly well. When the druid class was introduced, it was placed in the "neutral" position, but to do so, a whole set of new mechanics had to be created, because simply making a "neutral" cleric would have been difficult under the then presiding cleric paradigm. When you have a "pro" and an "anti" as your established design, a middle ground is hard to make work.

In 1980, six years after the first print version of the game was released commercially, TSR published the Deities & Demigods game book. The book itself was kind of mediocre, presenting the deities in its pages more or less as supermonsters with not much detail concerning the religious practices that should be tied to them. (Plus, it had some legal problems as the book included material from the Cthulhu, Melnibone, and Newhon settings without getting appropriate permissions from the owners of those intellectual properties). But that seems more or less predictable. Clerics were basically undifferentiated mechanically no matter what deity they chose to follow. There was really no reason to give the faiths of the various deities more detail because clerics were essentially all drawn from the same two flavors: good and evil.

But the introduction of such a plethora of deities and the development of players more interested in more in-depth (or sometimes "more realistic") role-playing resulted in an internal struggle in the dynamics of the game. Confronted with a fairly rigid alignment system, a fairly two-dimensional cleric class, and a system that more or less tacitly assumed the kind of monotheism that prevailed in Western Europe during the middle-ages, game writers, dungeon masters, and players struggled to make games work with a collection of polytheistic pantheons. And those results were often somewhat hilarious. I have an old adventure that was published in Dragon magazine during the 1980s in which the adventure writer has to explain that clerics devoted to the Celtic god of death Arawn can use daggers for ritual sacrifices, and then goes on to explain that this doesn't change the fact that they can only use bludgeoning weapons in combat. And this sort of silly explanation is the direct result of the pseudo-Catholic roots of the cleric class which made it ill-suited to provide a framework for a variety of polytheistic divinities. In another development, the same module also saw the introduction of the "huntsman" class, which was basically just a repackaging of the ranger class with the sole alteration being that huntsmen were required to be evil.

And the pseudo-Catholic design of the cleric class (and incidentally, the paladin class) fits quite poorly with a polytheistic system. While polytheistic religions in our history did have concepts like heresy, the idea of an infidel is somewhat foreign to them. In a polytheist's mind, all of the gods are real, even the ones that are "evil", and mere mortals don't strive against the gods. For an ancient Greek, Zeus, Hera, Poseidon, Hermes, and Ares were all quite real, and all had their sphere of concern. A sailor might look to Hera to ensure his wife had a good delivery of her pregnancy, and to Hermes to make sure the physician tending to his ailing brother was skilled, and to Poseidon to ensure he had a safe sea voyage. But he would not look down upon a smith because he had a shrine to Hephaestus in his smithy, or be annoyed that his neighbor offered prayers to Demeter in the hopes that her garden would be bountiful. All of the gods had their sphere of influence, and he might need to call upon one of them for aid at some point. Even foreign gods were still gods, and still worthy of honor. A Greek sailing to Egypt didn't think that its inhabitants were somehow in the wrong for venerating Horus, Anubis, and Isis. In fact, he might translate their gods into terms he was familiar with, or bring an idol of one of the Egyptian gods home so that his countrymen could be sure to offer prayers to this divine being. The Romans made it a practice to try to identify all foreign gods with their own pantheon, equating the various divinities of other peoples with their own Jupiter, Mars, Mercury, and so on. In short, the cleric/anti-cleric design of the classic Dungeons & Dragons setting was poorly suited to reflect a polytheistic world.

But polytheism became the standard model for Dungeons & Dragons campaigns, resulting in a collection of mostly ad hoc rules additions to make clerics more individually attuned to their particular deities. This seems to have first been widely implemented in the Forgotten Realms campaign setting, but it was then ensconced in the second edition Dungeons & Dragons game via the somewhat modest mechanic of clerical "spheres", which served to customize a cleric's spell selection to a certain extent. The third edition Dungeons & Dragons game uses a system of having clerics select "domains" which give them bonus spells to choose from plus some sort of unique ability. But the system is still, at its roots, built on monotheistic assumptions, and a whole host of spells, class abilities, and other game effects are tightly tied to the alignment system that flows from those assumptions.

Without eliminating or massively rewriting numerous character classes and discarding the alignment system (and consequently discarding the large chunks of the game that are built upon the alignment system) it is difficult to create a religious system in a Dungeons & Dragons campaign setting that is not monotheistic in character (or, more accurately, dualistic). But to make the system work as it is structured now, one must provide a collection of divinities to attach clerical domains to or have the somewhat game-breaking set up that allows a cleric to choose almost any pair of domains that they want. Plus, losing polytheism, unless well handled, would rob the game of a fair amount of fun.

So what is a campaign designer to do? When confronted with a game that is filled with mechanics that point to monotheism sometimes and polytheism in other places, the solution that I have usually come to is to create a religious system that is a hybrid of monotheism and polytheism. I have taken a couple different tacks with this sort of arrangement. In one, I established that there was a single, distant deity but that the inhabitants of the campaign interacted with that deity by means of a collection of intermediaries such as archangels and saints. Each cleric would attach themselves to a particular intermediary. All of them were opposed by a cadre of rebellious fallen angels, who evil cults revered. I'm not going to use that exact system for the Realm campaign, because I want to use divine powers that are influenced by the Celtic and Norse mythologies, but I'll probably implement something that follows similar lines of reasoning.

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Friday, February 15, 2013

Campaign Design - Introducing "The Three Worlds"

Note: All of the information in this post is out of date and will be replaced soon. This page will be archived and a new explanatory introduction will be put in its place.

So, I'm taking a severe left hand turn here. I have gotten myself roped in to trying to create and run two 3e D&D campaigns at the same time. One will be for a mixed group of adults and young players, the other will be an all adult campaign. The saving grace is that both campaigns will involve gaming neophytes, so I can essentially run the same campaign setting with two groups of players, simply placing them parallel to one another.

The first campaign will involve two older players, both veterans of role-playing, but who have not played in quite a while, and four kids ranging in age from eight to fifteen, none of whom have ever played a role-playing game before. The second campaign currently has two players more or less committed, one enthusiastic neophyte, and one experienced player. I'll have to scare up a few more players to make it work, but I think that won't be a problem.

So I'm setting aside all of the truly weird stuff and customized house rules for a bit. This campaign is going to be mostly by the book. No customized races. No funky house rules. Just, for the most part, the core 3e D&D mechanics from the three main rule books, leavened, as time goes on, by material from other sources. And because none of the people I will be running these games for have played any of the classic D&D modules of TSR's heyday in the early 1980s, I can dig those out and convert them to 3e D&D to introduce them to a whole new generation of gamers.

So I need a setting. Using old TSR adventures would suggest that I could use the Greyhawk setting, but even though I like the adventures that were loosely set there, I don't like the setting itself. And I have always used a home brewed setting for campaigns that I run, and I don't see any reason not to keep doing that. But that means I need a basic setting that I can throw together over the course of a couple of weeks. So, welcome to what I am calling "Three Worlds" as a working title. The campaign needs to have room for all the core races. It also has to have a place for all the core classes. And it needs to have space for adventures, conspiracies, and conflicts.

The basic framework is a collection of small kingdoms allied together in a loose confederation. The confederation is relatively recent, and not particularly effective. These nations are menaced by a modest number of evil lands and organizations, providing the opposition that will provide grist for the adventuring mill. Because the area is small, with less than imposing kingdoms and a transnational governing body that is ineffective, adventurers who can solve local problems will be in demand. Because I like Celtic mythology, I'm going to use a sort of pseudo-Celtic feel for the setting, and mix it with some Norse mythology and sensibility with a little bit of Finnish myth thrown in. I'm not going to even try to pretend that I am going to remain faithful to any of these mythologies - the root source of a lot of the material may be readily apparent, but I'm not going to make any real effort to try to be accurate. The gods of the setting are Celtic and Norse inspired, but they aren't Celtic or Norse gods. And the same holds true of everything else about the setting.

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