Flickering Lights - A History of Silver Screen Licenses in RPGs

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TristramEvans

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This is an old essay (circa 2001) by S. John Ross, author of Risus, that unfortunately disappeared from the web years ago. I had reason recently to hunt it down via the Wayback Machine, and figured it may be of interest to other Pub-goers so might be worth sharingg here for posterity:


In Anytown, USA, a game designer struggles to meet the needs of the gaming public and the needs of a picky licenseholder at the same time. The work, when it's done, is thousands of words of text and dozens of graphics.

In Los Angeles, months later, the approvals staff for Big Movie Studios stare at the thing in horror, knowing that they'll make ten times the money by spending thirty seconds approving a coffee mug with a logo on it.

In Othertown, USA, a Game Master hears word of a game based on a film his gaming group loves, but he's concerned: Can it capture the spirit of the film? And even if it does, can he?

Cinematic licensing is a beast that can defeat the mightiest financial backing and humble the most heroic game designer. The success stories are few, and impermanent. They do, however, include three of the most influential games in the hobby's history.

Licensed to Kill

James Bond 007 designer Gerry Klug dedicated his game to publisher Eric Dott, citing his understanding in allowing the games rules to be designed "they way they had to be done." Dott, who'd rejected Dungeons & Dragons a decade earlier when offered it by Gary Gygax, had apparently gained new insight as RPGs steadily bullied his wargames onto the back shelves at retailers. He'd gained something else, too: a major license that would allow Victory Games to compete in the RPG arena. It was 1983, and James Bond 007 emerged as a major player immediately, netting industry awards and rave reviews for both the core game and the steady stream of support material that followed.

007's eye-bending blend of charts and modifiers seemed streamlined at the time, and while it hasn't aged well, it was clear to everyone that Klug had committed a noteworthy act of game design. 007 pioneered unrepentantly cinematic-style rules, providing results that mirrored the films well and rejected mundane reality as a nuisance. The rules included detailed gameplay where character decisions would be most prominent (gambling, seduction, fighting and vehicular action) and shamelessly abstracted those areas the films glossed over. There were no language rules, for example, suavely side-stepping a design hurdle most other modern-Earth RPGs struggle to climb over.

So, James Bond was more than a marketing gimmick; it was a milestone design, standing firm against two competing espionage titles released in the same year: Mercenaries, Spies & Private Eyes (Blade/Flying Buffalo) and Espionage (Hero Games). Only the limitations of the genre itself determined the ceiling of its success, and the game remained available until Avalon Hill (and therefore Victory) closed its doors.

The First Wave

James Bond had the advantage of being a decades-old cinema property with literary roots[*]. The next thing to try would be something based on something fresh in the theaters, to take a risk on something entirely new. In 1984, TSR had a go at the best of both options, with the release of 2001: A Space Odyssey and 2010: Odyssey Two.

2010 came first; TSR released it at Gen Con 17, even before the film hit theaters. Unlike Bond, it really was just a marketing gimmick, cashing in on the legacy of Kubrick's classic and the buzz surrounding its sequel. Before they went to the movies, gamers could have deckplans for the Leonov and stats for her crew!

TSR achieved this feat by skipping game design entirely; both titles were released as Star Frontiers modules. By using an existing game, TSR could strike while the iron was still heating in the coals, creating well-made but deliberately disposable supplements with no real plans for long-term support or reprints.

TSR also released Adventures of Indiana Jones that year, a full-fledged RPG with trademarks to spare and the hopes of a long-lived film franchise to support it. It was well-regarded, but, like James Bond, it had competition in the same year: Hero Games released Justice, Inc., their own "pulp adventure" RPG, stealing the hearts of many gamers that might otherwise have devoted themselves to the TSR game. And unlike Victory's Bond, TSR's Indy didn't have the stuff to compete.

1984's minor entry into film licensing came from the biggest name in television licensing: FASA's powerhouse Star Trek game. Their Star Trek III Sourcebook marked their first entry into official adaptations of the silver screen. FASA's second and last foray into film licensing came in 1986 with Star Trek IV, but that year would be dominated by cinema gaming's second milestone: West End Games' Ghostbusters.

Are You A GOD?!

Sandy Petersen and Chaosium, creators of the most enduring literary-license RPG of all time, seemed to have a natural claim on a movie as obviously Cthulhoid as Ghostbusters. WEG's role as the kings of smart comedy (via Paranoia) seemed a perfect fit, too. And it was. Petersen scored a second Impale, creating a game that, like James Bond before it, would build a milestone in game design as well as licensing success.

And game design was the key. While Reitman's supernatural comedy was a gamer favorite, it seemed an unlikely prospect for a great game: Who would the players portray? There are only four Ghostbusters, after all. And, ghosts or no ghosts, they're really just exterminators, most of the time. Without a new world to explore or a clear idea of what the PCs would be, many gamers were skeptical.

Petersen answered the challenges by exploring a new genre - a kind of "new age pulp" of mad Fortean adventure, where alien invaders and bigfoot were just as likely to crop up as an ordinary free-roaming vapor. Played straight, it's the world of the X-Files or a dozen other modern settings, but it was unheard of in 1986, at least in pop culture. To give the PCs an excuse to get a brown jumpsuit and proton pack, the game introduced Ghostbusters, International, a global franchise spun off with cash Venkman and company earned from saving New York. Unlicensed nuclear accelerators are even cooler when mass-produced, after all. With the franchise angle in place, GMs (Ghost Masters) were encouraged to explore the supernatural and comedic potential of their own hometown.

This odd stew was so well written, and tied to such cunningly fresh game mechanics, that it all but reinvented RPG design. Ghostbusters had not a whiff of the wargaming roots the hobby had been founded on. It had clean, fast, funny rules driven entirely by dramatic and comedic necessity (and a cute die with a ghost on it). James Bond had been beaten at the Baccarat table, and every new RPG to follow would be influenced, directly or otherwise, by Ghostbusters.

Point Five Past Lightspeed

The first real progeny of Ghostbusters would prove stronger than the master, and would prove to be the third and greatest milestone in the history of film-licensed roleplaying games.

Greg Costikyan's Star Wars RPG (1987) combined Ghostbusters-influenced mechanics with an even more fertile setting. West End didn't need to reinvent Star Wars to make it the ideal gaming setting; "Hokey religions and ancient weapons" were already what gaming was primarily about. All they needed to do was live up to that setting's potential.

They succeeded so admirably that their relationship with Lucasfilm grew into something greater than just a license. West End became one of the keepers of the Star Wars continuity, charged with the task of cataloguing references, ships, systems, characters and more from the galaxy of new creations constantly appearing in the Star Wars universe beyond the films - because, as game designers, they had to do it anyway. Like Ghostbusters, Star Wars expanded the universe it took place in, but better still, those expansions were incorporated into the master property itself. Until fiscal difficulties later tore everything apart, it was the most productive and friendly "Hollywood marriage" in gaming.

But licensing remains a tricky business under the best conditions, and West End and LFL had their rough moments, amusing in retrospect. Former WEG staffer Eric Trautmann recalls a crack-of-dawn weekend phone call from an agitated Lucasfilm rep:

[She asked] if we, West End Games, had sought General Motors' permission before we identified a particular spacecraft as a "Corellian Corvette." My response was quite natural: I laughed and asked, "No, really...what can I do for you?"
Several hours of explanations and faxed pages from reference books later, LFL was satisfied that not all corvettes had wheels.

Experiments and Failures

Star Wars joined the ranks of the world's most popular RPGs, making skillful use of a dream license. For more than a decade, it was the source of admired supplements, improved editions, and the Star Wars Adventure Journal, a high-quality periodical featuring fiction by "name" authors, solitaire adventures, and ready-to-go gaming material (a unique high watermark in game magazines).

But Star Wars would be the last of the real milestones. The late 80s and early 90s would be a time of experimentation, for West End and for others, with no real success stories.

TOR broke new ground in 1988 with Allen Varney's Willow sourcebook (coauthored by Star Wars designer Costikyan), but it was ground nobody seemed to want. The Willow book was a real first, a film-licensed worldbook, clearly written and designed with roleplayers in mind, but without new game mechanics or ties to an existing game. It included sparse "generic" gaming notes clearly written with D&D in mind, but was essentially a system-free book. The film didn't hit, so the book didn't either, and no one has tried that approach since. In 1989, West End released a completely revised edition of Ghostbusters called GBI which, like the film's own sequel, lacked most of the charm that made the original worth seeing.

The 1990s introduced a new player to the field, a small company looking to leverage its way into the upper ranks with licenses, just as West End and FASA had done. They were Leading Edge Games, and they failed.

Leading Edge worked with the same approach that TSR had used earlier, focusing on current movie releases as well as established favorites. Alien[3] was heading for theaters in 1992, so they got the license for the Aliens universe and released the roleplaying game in 1991. In the following year, they released Bram Stoker's Dracula and Lawnmower Man. There were even lead figures (although, sadly, no RPG) for Army of Darkness, but Leading Edge didn't live to see the middle of the 90s, much less the end of it.

West End's own experiments with current-release licensing didn't fare much better. Their Masterbook universal RPG, a retooled version of the Shatterzone engine, was used primarily as a platform for licensed settings. These included TV, literary and computer-game worlds, as well as films. Tank Girl and Species (both 1995) appeared alongside the films that spawned them, and The World of Indiana Jones (1994) resurrected the license that TSR had botched in the 80s.

Masterbook titles were supplements that required the Masterbook core rules as a separate purchase. That, combined with mixed reactions to the game engine, made the licensed worldbooks a less appealing "impulse buy" than they might have been. Of the entire Masterbook library, only Indiana Jones had any degree of real success, with a series of well-regarded supplements and a moderate fan following. While never a "hit" in any sense, it fared better than its predecessor from TSR.

West End's final foray into film licensing abandoned the Masterbook approach. Men In Black was a complete RPG based on the film. Like Ghosbusters, it was a comedy game of fortean adventure. Like Species and Tank Girl, it was a pre-arranged license released along with the movie itself, and it came with its own set of design headaches. WEG veteran Timothy O'Brien recalls:

The MiB property came with draconian rules about what images to use, the backstory on several characters, names, which fonts to use, and so on. The MiB RPG was ready to print when an alert came down the pike telling us that we'd used the wrong fonts and that a half-dozen things would have to be changed. They pointed us to a different font they wanted used. A header font. They wanted it used as a body font.

Naturally, they didn't alert anyone to the last minute switch in alien names and the editorial film cuts that reduced some of the alien descriptions in MiB to contradictory gibberish. Some of the licensees could switch the toy boxes, but the MiB RPG book was hosed, and we found out when the designer, George Strayton, saw the movie.
Men In Black enjoyed only moderate sales, and the company didn't last long enough to build on it. In 1998, with Misson: Impossible and Stargate: SG1 licenses trailing unrealized in the water [*], West End Games went down in a flurry of debts, layoffs, lawsuits, and fingers of accusation, and the Star Wars game went with it - on the eve of the resurrection of the film franchise.

A New Hope?

Star Wars didn't stay dead very long. Struck down, it returned in 2000 in the hands of Wizards of the Coast, with a creative team led by long-time West End veteran Bill Slavicsek. Time will tell if the new incarnation has the legs to match its predecessor. Like Lucasfilm's new Star Wars prequels, it must contend with both the high standards and justifiable nostalgia of the old fans, and the needs of a newer, younger audience.

But, "there is another." The greatest hope for the near future of film-licensed RPGs may be Guardians of Order, a small Canadian publisher which has, in the tradition of publishers past, launched itself into the spotlight with a winning combination of licensing and much-admired game design.

Animated feature films have seldom been licensed in the past. Wizards (Whit, 1992) and Project A-Ko (Dream Pod 9/Ianus, 1995) were the only examples until Guardians released David Pulver's impressive Demon City Shinjunku RPG in 1999. While the film's niche status guarantees that the game will never be more than a standalone, the action-horror RPG blends the elegant Big Eyes, Small Mouth "Tri-Stat System" with one of the most complete gaming sourcebooks ever assembled based on a single movie, rivaling West End's film sourcebooks in both detail and quality. With GOO acquiring new licenses by the carload, similarly good animated-film RPGs are probably on the way.

More importantly, Guardians proved their flexibility and willingness to innovate with a live-action license: Ghost Dog: Way of the Samurai (2000). Like most other licenses based on a current film, the game is likely regarded as disposable, but rather than a lackluster book of stills and stats, Ghost Dog is an unusual game, combining modern action and drama with a rare focus on one-on-one campaigning and a well-presented primer on organized crime. It also proves that GOO's Tri-Stat system can handle worlds beyond anime, so they might have the muscle to succeed where Masterbook and Leading Edge could not. Clearly, the Force is with someone.
 
It's too bad that D20 thing never worked out for Wizards of the Coast, but at least they had Pokemon to fall back on. I heard recently that Tonka was thinking of buying them out. Nobody these days even remembers the name Dungeons & Dragons, but, almost unbelievably, it was once the biggest game in the industry
 
Yep, after G.I.Joe vs Cobra: The Roleplaying Game took over the #1 spot from D&D in the mid 80s, fantasy gaming was on a downhill slide into oblivion.
 
I'm just happy that FASA picked up the Buckeroo Banzai license
 
Heh, I've got my own rant on the subject, this one from 2009:

Seriously, why bother with licensed games at all? First off, they often contain a lot of fluff - how many Serenity RPG purchasers, for instance, really needed eight pages of full-color stills of the characters from the movie ... or the Star Wars RPG, where for a lark I figured out that a full QUARTER of the book is taken up with movie stills and graphic art? Secondly, they often have pages upon pages of detailed stats and info for the characters portrayed, which may be ducky for those whose GMs let them play James T. Kirk, Lando Mollari or Jayne Cobb, and less useful for the far more numerous GMs who play in the milieu but not in the original storylines. As a rule, they're heavily slanted towards the novice gamer, adding more stuff that experienced gamers seldom need.

Secondly, the property owners restrict, often heavily, the ability of the game writers to fill in holes. The Serenity writers weren't allowed, for legal reasons, to mention many details from the TV series; the reason Iron Crown set most MERP products centuries back from the events of Lord of the Rings was the disapproval of Tolkien Enterprises of contemporaneous plots; DC didn't want Mayfair creating anything that might hem comic writers from future plotlines.

Thirdly, it's a truism that a lot of hardcore fans will hate any licensed product on the ground that it's not the work they would themselves have written. They hate it when a certain plot element gets included, they hate it if a certain plot element doesn't get included, they hate it when their favorite/hated characters are/are not featured, they hate it when the writers make a presumption about characters or events they themselves wouldn't have made.

Finally, the audience just isn't as large as people think it is. We're not (say) peddling Serenity just to gamers. We're not (say) peddling it just to gamers who like science fiction. We're not (say) peddling it just to science fiction gamers who happen to be Firefly fans. We're not (say) peddling it just to science fiction gamers who happen to be Firefly fans and don't mind the Cortex system. We're (say) peddling it to science fiction gamers who happen to be Firefly fans, don't mind the Cortex system and think the writers did a good job. That is not an easy sell, and that breakdown applies to pretty much any licensed game.

Given that, why bother? I can cut-and-paste from web articles, fan Wikis and the like with the best of them. Why plop down $50 just to be aggravated in purchasing a game I'm going to have to modify heavily anyway?
 
I don't entirely disagree, but my 2 counterpoints are

1) a system designed around a specific property is often a superior game for that purpose over a system intended to be generic/universal or fitted to purpose.

2) some of the very best RPGs in the history of the hobby are those based on IPs
(Marvel Superheroes, Call of Cthulhu, Pendragon, DC Heroes, WEG Star Wars, Prince Valiant, Doctor Who, Ghostbusters, Dallas, etc)
 
Speaking of Serenity, I'm not sure any discussion of the history of big-screen and small-screen licensed adaptations for RPGs is complete without talking about Margaret Weis Productions.
 
Speaking of Serenity, I'm not sure any discussion of the history of big-screen and small-screen licensed adaptations for RPGs is complete without talking about Margaret Weis Productions.


I believe the essay in the OP was written before they existed
 
Yeah, was after the essay, but in the support of "why use IP" I think that all the Cortex games, while not necessarily to the taste of people here, were very successful at what they were trying to do.

I was a big fan of Leverage and Marvel from them. And while not a big fan of the source material, I think the concepts in Smallville were great.
 
Sometimes the inspiration that comes from the IP and officially being able to use it makes games that rise above the rest and take their place in the pantheon of legendary RPG. Tristram listed a bunch of them.
 
I always thought that if WEG's The World of Indiana Jones had been done using the same d6 rules as Star Wars, it would have done very well. The decision to use MasterBook is baffling when they already had a better system in-house that just required a few cosmetic changes to match it up to another film series. I think WEG must have belatedly realized that as well since 2 years into MasterBook they released the adventure scenario collection Indiana Jones Adventures and included a conversion for their d6 rules.
west-end-games-indiana-jones-adventures-rpg-book-8.jpg
Too bad. I would have ate up d6 WEG Indiana Jones.
 
Yeah, if they'd stuck with d6 or some variant of it, I suspect West End Games would still be around today. They had solid licenses but the game system wasn't what people wanted.
 
lol, remember The Amazing Engine?
 
a system designed around a specific property is often a superior game for that purpose over a system intended to be generic/universal or fitted to purpose.

Only by random chance, really: we all can name many that weren't. A large part of it is the purported need to "design" a system around a property. The impetus is not "Hey, we have this great idea for a system!" but "Woo hoo, we got the contract! Huh. We have to come up with a system that isn't obviously a ripoff of something else. Okay, how can we make the dice mechanics not look like anyone else's ..."

As for the list of "best" RPGs, how many of them became long-term impact players in the industry? Only Call of Cthulhu, really.
 
As for the list of "best" RPGs, how many of them became long-term impact players in the industry? Only Call of Cthulhu, really.

Double edged sword of being tied so closely to a license, most of which don’t last as long as Call of Cthulhu has.
 
Helps that a lot of the Cthulhu Mythos work is public domain. I don't think anyone can actually "pull the license" on them.
 
But also, several of the systems do survive the loss of the license and are still in the industry. D6 system is still going after 30+ years. Cortex is still going after 16.
 
As for the list of "best" RPGs, how many of them became long-term impact players in the industry? Only Call of Cthulhu, really.
How many of any type of RPG have become "long-term impact players in the industry" (whatever that means)? Maybe you have D&D...and then there's everybody else who has had far less success.
 
Many of these systems won awards like the Origins award for best rules set. That includes MSH and DC Heroes. I think they are both better games than D&D, but that’s just my opinion.
 
lol, remember The Amazing Engine?
I do indeed, Bug Hunters and Faerie Queen and Country and Tabloid were all pretty good. The game system not so much. I think someone at TSR thought they could do a BRP / GURPS style game to compete in that market without really thinking the idea through. The books were also much more expensive than GURPS books at the time though the art was no better.
 
I do indeed, Bug Hunters and Faerie Queen and Country and Tabloid were all pretty good. The game system not so much. I think someone at TSR thought they could do a BRP / GURPS style game to compete in that market without really thinking the idea through. The books were also much more expensive than GURPS books at the time though the art was no better.

I remember Faerie,Queen, and Country was like a proto-Castle Falkestein. I can't remember the system except the idea that you played the sam character in each game, just different avatars or something? Like you had a character with some basic stats but depending which "world" you were in, there was more specific stats derived from your profile? I dunno, this is all half-remembered from over two decades ago.
 
Yeah, you built dice pools that you rolled for stats. The system was stat + skill roll under on d%. Damage was by dice types with a lethality rating I can't quite recall the workings of. The idea was that cinematic settings would have a lower lethality rating and thus less character death. Faerie Queen and country was much less gonzo than Castle Falkenstein. The premise was simply that Victorian England bordered on faerie and has diplomatic relations therewith.
 
Helps that a lot of the Cthulhu Mythos work is public domain. I don't think anyone can actually "pull the license" on them.

That, or possibly interfere with things. That's really the bitchy part about licensed properties: that the licensers get veto power over everything you do, don't necessarily understand what RPGers need in the products, and often exert that power capriciously.
 
The problem with licensed rpgs is that licenses expire. They're also expensive so companies generally do one edition and get out. So, you get edition after incompatible edition. A smart licensor would stipulate that the rules belong to them as part of the license and require everyone to stick to those rules.
 
Yeah, but I doubt the licensors much care. The manager responsible for licensing at Paramount (say) doesn't give a good goddamn about whether or not a Star Trek RPG is a long term success. He's looking to squeeze out some more bucks out of the property, and the best conceivable amount he's going to get a game company to bite at for a license would be two- or three-hundredth the domestic gross for the next movie. (Besides which, that manager doesn't plan on being the middle manager told off to handle such petty stuff for Paramount Licensing five years down the road.) They are none of them gamers, and don't have our needs, wishes or paradigms in mind.
 
Unless you're Star Fleet Battles, of course.

Heh. You sorta wonder what that contract looked like. Did Amarillo cadge a locked-in annual renewal clause or something, or did they manage to get perpetual rights on a one-off from Franz Joseph?
 
Once upon a time Franz Joseph got a Star Trek license for the Star Fleet Technical Manual. This license truly existed in another time when licensing was different and Star Trek was considered dead. Because of this, the license was perpetual AND it allowed sublicensing. Such a thing would never be allowed today.

SFB is a sublicense of the Franz Joseph license. That's why it is TOS only. That's why Kirk and Spock are never mentioned by name. That's why you don't read anything about the Enterprise other than it being one of the ships on the roster of Federation Heavy Cruisers.

I've read that back around the turn of the century, when the computer game Starfleet Command was being made, ADB did some agreements with Paramount to further shore up the license and make SFC possible. I also recently saw there are some issues with getting the boardgame playable on modern online platforms because of this old computer software agreement.
 
Helps that a lot of the Cthulhu Mythos work is public domain. I don't think anyone can actually "pull the license" on them.

Didn't Arkham House insist they held the publishing rights to all H.P.L.'s work for decades?
 
"claimed to"

CoC originally had a license with them, probably still do because the game has a lot of stuff from Derleth, Bloch, and other post-Lovecraft Mythos writers.

I am at work and cannot check, but I believe my 3rd through 5th Editions are published with a license from Arkham House. Whether that relates to the Lovecraft or Derleth material, I cannot recall.

I think the claim being more openly scrutinized and disputed led to most of the non-Chaosium mythos games that emerged in recent years, once it became apparent that even if AHP ever had any legal claim, they weren't going to pursue it with the likes of Trail of Cthulhu.

Honestly, I'm surprised there aren't more public domain-based role-playing games, it has been the go-to for easy adaptions in cinema and television for a long time, and having well-known material you don't have to pay a penny for or await approval on ought to be an attractive prospect.

Though I do understand the "why bother" when it comes to Arthuriana. Pendragon would be hard to beat.
 
Public Domain can still be a bit of a minefield, as it means different things in different places (Conan is public domain in my country, but not in the US), and some properties, despite technically being public domain, are "guarded" by extremey litigious false claimants one would need to fight a costly legal fight (Zorro, Sherlock Holmes)

When it comes to older stuff - I think a lot of people just assume the interest isn't there. I don't know how well GURPs Scarlet Pimpernell did, frex, but I imagine it wasn't gangbusters. It's kinda like the dearth of historical RPGs IMO.
 
I imagine vulture-like claimants are more a problem in the US than elsewhere, but it is a potentially large market.

It strikes me as odd that historical and folklore sources aren't more popular. They are endlessly revisited and updated in most media, and would be closely tied to the wargames and skirmish rules role-playing games evolved from.

Is it simply a matter of unfamiliarity and a lack of desire to study just to play a game or a genuine disinterest?

Given the difficulties of affording and obtaining a licensed property, getting approval, publishing enough material within the license duration profitably and being unable to easily re-use your work once it has expired, I don't envy anyone working on those projects. I've read that, despite it's loyal and loving fanbase, the TSR Marvel books were not desired assignments.
 
MSH was desired by Grubb at least. TSR went to him and asked him what his dream project RPG would be, and he said MArvel. At first they thought Mayfair already had the license, but when they found out they didn't, they scooped it up. Apparently Marvel was great to work with back then, too, giving them unfettered access to the archives warehouse. But they did have to fight to include character creation rules.
 
Oh, I didn't mean the Marvel game itself, more the production line of adventures that TSR was required to write. I'm sure the initial material was a fascinating and fun project. But as years went on, the adventures were not considered choice assignments.

It seems to be the way with superhero licences. The publisher expects you want to play as Spider-Man, not team-up with him. My preferred game is Marvel SAGA, and the hero creation chapter is just as much an afterthought in that. DC Heroes (the black box version anyway) seems to begrudgingly accept you might want to make your own hero, but the adventures tend towards playing the established characters.
 
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