Archive for October 2025

Pregnancy – An Anatomy Of Visual Novels


The Truth About Children

 
Due to how closely visual novels have historically sat to the world of adult entertainment, they have often been able to touch upon subjects other games or media struggle to address and one of these is pregnancy. Their attitude and use of pregnancy varies wildly from title to title but it remains a powerful narrative element in all situations since bringing another life into the world is action with fate altering consequences. By far the most common presentation of pregnancy is as the natural outcome of a romantic relationship where the characters are depicted happily awaiting their new or recently born child. Then there is comedy which loves to poke at the absurdity of the human condition and there is no better material than people’s reactions to the natural outcome of biology. Since pregnancy is such a life changing event with all kinds of emotional connections it is the perfect breeding ground for drama amongst the cast. Let’s marvel at the wonders of life and discover how it influences the visual novel space.
 

Pregnancy As The Outcome of Romance

 
When many visual novels engage with pregnancy it is often in the context of a romantic relationship and acts as a final confirmation of the longevity of the couple’s bonds. Having a child is a serious commitment to make since it will be many years before they leave home and so it is wordlessly speaks to the intimacy and future nature of this relationship. Presenting the pair as having already had a child does achieve the same effect, but a pregnancy removes the need to have a new character design for the child and allows the player to imagine what they might be like while communicating the same thematic commitment through being a dramatic change to the appearance of the female character. It helps that in many eroge the characters have been engaging in intimate activities beforehand which makes it easier to present these pregnancies as a natural outcome of their actions and thus binding romance and pregnancy together. Take Maji de Watashi ni Koishinasai! series and the character Oshitari Azumi for an example of the positive and romantic presentation of pregnancy. The actual pregnancy is confined to the end of her route, long after the point where she and the protagonist are married, in order to have this be a signifier of their bond without dealing with the realities and inconveniences of the process. Since it is such a brief window there has been a lot of effort put into how it is framed from the gentle illumination and soft colours of the visuals to the light hearted banter and deep trust in each other. This allows it to land with a greater impact and presents a bright future for the pair so the route can ends on a high note even if the player will never get to experience any more of their lives. It does help that the pair were fornicating throughout the sections after the marriage to provide the context for the pregnancy and further push the idea of it as the ultimate conclusion to their relationship. 
Behold the wonders of childbirth

Titles with a deeper exploration of pregnancy are less common but those that do exist tend to place it in the same romantic context. Clannad’s After Story section brings the focus down to a single heroine, Nagisa, and during this time she becomes pregnant. Rather than simply skipping over this part of their lives Clannad engages with the social and biological reality as the pair get ready to become parents for the first time. It is used as an avenue to showcase the strength of their commitment to one another and continues to develop it as they overcome these strange new hurdles. Despite the difficulties of pregnancy it is still shown to be some of the best moments of their lives to help drive home just what a positive thing these events are and how the player should interpret them. While Clannad is not an eroge, the influence of Key’s history with the eroge of their earlier titles is clear from their willingness to present pregnancy, the reason it occurs and its consequences in a frack way that a developer with a more main stream audience may have shied away from.
 

The Comedy Of Our Desires

 
Pregnancy sits in a strange place in the social consciousness, it is a thing to be celebrated since it brings new life into the world yet the process which leads to it is not something people are comfortable talking about. Into this awkwardness strides comedy to inject a much needed dose of humour into the absurdity of this situation. Since many visual novels already deal in this style of comedy it is only natural they would take advantage of this avenue as a means to add variety. One way this can be achieved is by directly pointing to the cause and effect of how pregnancy and engaging in a bit of tongue and cheek education for the player. Futamata Ren’ai does this at the end of Toiro Kirame’s route where she realises she has become pregnant and then the other characters point of that since she and the protagonist have been at it like bunnies, this was the obvious outcome. Before this point the game had not brought up the idea of pregnancy and so this sudden shift highlights it as the expected consequence which people do not openly discuss resulting in a kind of awkward laugh from the player as they realise the mental disconnect they possess between action and outcome. It helps that Futamata already makes a lot of adult jokes and regularly utilises its status as an eroge to touch on such ideas so this discussion about pregnancy does not appear to come from nowhere but is instead a part of its sense of humour. 
Boys and girls this is what happens when you go at it too much

Another way comedy visual novels like to use pregnancy is take it too its logical extreme, if the protagonist gets around then there should be a lot of pregnancies. The Rance series and its titular protagonist do not know how to keep it in their pants so the outcome should be obvious. These games love to play up their promiscuous protagonist at every chance and pregnancies are a great way for them to do so while at the same time point out how absurd their protagonist is and how his actions result in some truly over the top romantic situations. This plays nicely with the over the top story of the Rance titles and their nature as eroge to get a chuckle while continuing to keep both sides of its mechanics and narrative satisfied one joke to the next.
 

Dramatic Pregnancy

 
Given how life changing a pregnancy is for all those involved it naturally lends itself to being a source of drama. In particular the idea of pregnancy as binding two people together regardless of whether they like it or not can be leveraged to drive a wedge into proceedings in a way a player might not be expecting. As such it primarily deals with the discovery of the pregnancy rather than the later stages so it can side step the physiological changes and just use it as a narrative device which does not impede the character’s ability to engage in other plot points. This allows it to be a flexible element which can either be the focus of events or a compliment to a situation with already high stakes without being invasive since it can be framed as the natural escalation of romantic tensions. However, it does need a specific kind of story for it to not feel out of place due to it being so closely tied to intimate relations and as such placing it into a game without even the slightest allusion to it would make this subject especially jarring. Perhaps the most memorable example of a visual novel using this dramatic device is School Days. Before pregnancy is even brought into the conversation this game presents itself as a drama fuelled descent into romantic madness as every character does the stupidest thing possible in every situation. Having such an open season on what is reasonable for a character to do in pursuit of love makes the presence of pregnancy feel like the natural conclusion or extension of these conflicts. Sometimes it a cause to be happy and in others it is cause for murder, School Days gets a surprisingly large amount out of this dramatic moment as a means of pushing the cast over the edge for the most outlandish endings possible. As with many of the previous examples in this article it helps that the characters have been sleeping around so the pregnancy appears natural yet this game takes it further since the sleeping around is a major source of drama and the pregnancy pushes those strained relationships to its breaking point.
Be careful who you sleep with...

Conclusion

 
One of the defining experiences of a human life is to bring another person into the world so it makes for perfect material for visual novels to include in their stories. Romance likes to use it as the ultimate conclusion of a relationship where the commitment of the pair is shown in a physical manner which speaks to the bright future ahead of them. It can also be a source of drama and tension since its life changing nature may not be what all parties want or represents the breaking point of a relationship. Playing off a pregnancy can be a great means to create comedy where the taboo nature of the process leading to pregnancy is juxtaposed against the happy outcome of the union as a means of highlighting the obvious connection between the two. As a narrative tool there are few with the potency of pregnancy and if handled correctly can leave a powerful impact on the player’s impression of your game.
 
 

Roguelike/lite – Uncovering The Hybrid


Repetition Towards Perfection

 
Roguelikes/lites and visual novels have never been styles of game associated with one another for good reasons. Repetition is an extremely problematic element for anything which leans into narrative since it undermines the feeling of progress stories rely on yet it is core to the appeal of a Roguelike. Of course this has not stopped developers from trying and this has led to some interesting results as they attempt to reconcile these two halves. A common narrative device used to try and justify the repetition in the visual novel is the time loop where the player character is trapped in some kind of repeating cycle which they have to extract themselves from. When it comes to integrating these elements into a compete package one method used is to segregate them so they do not impact each other in any negative ways. Another way is to firmly plant the visual novel within the Roguelike mechanics either through narrative events or making whole story a Roguelike. These three aspects are the defining pillars around which this hybrid struggles to construct its identity. Let’s get ready to start all over again and discover what this hybrid has to offer.
 

Groundhog Day 

 
In order to justify why the characters are constantly repeating the same levels and fighting the same enemies many stories present it as them being in a time loop and visual novels are no exception. The reasons for its prevalence in Roguelikes stems from it being a popular trope which is easy to understand while at the same time being open enough to not restrict the kind of settings or characters it can have within it. Utilising a widely known narrative framework frees the visual novel aspects from having to extensively justify the existence of the game’s mechanics since a loop naturally invokes the idea of repetition. It also works to help make the reuse of some story beats or lines of dialogue a means of creating the same emotional experience of the cast being trapped even if many of them might not be aware of their predicament. The loop as a means to further this feeling is used by Gnosia to great effect when combined the physical confinement of the spaceship. Doubling down on the restrictiveness of the setting might seem like a poor choice since it limits the opportunities to add diversity to events, but here it works in Gnosia’s favour as it ties its narrative closer to the design space of its Roguelike mechanics. By removing all distractions the game can focus on selling the life and death tensions its investigation and social deduction elements thrive on and make each new cycle have the same impact throughout its play time. The randomness and unpredictability of a Roguelike is the core element which allows this style of interaction to be possible with its ability to shift the pieces around so they feel new again. 
Oh no! Should have framed some.

Time loops are not limited to strictly sci-fi stories and any genre can comfortably fit within its vague outline. This is one of the reasons it is so prolific as a narrative device within Roguelikes and it has led to a wide pool of titles that might not have otherwise seen the mechanics as compatible with them. One notable example of this is the game Expelled! where its protagonist has become the prime suspect in an attempted murder case and they have to figure out how to avoid getting expelled by any means possible. This school setting and its younger characters opens up a lot of possibilities for interesting situations and more flexible morals given their desperation to avoid an outcome which would ruin their lives. Teenagers tend not to be the most stable people so the web of lies and questionable actions the protagonist weaves over the course of her various loops do not feel out of place given all that is happening to them. Assisting this narrative direction is the Roguelike mechanics and the way they play on the slightly exaggerated nature of the game with their social navigation and evidence manipulation that encourage the player to experiment in what they can do before it blows up in their faces. The aim always returns to uncovering the truth about who is responsible for the attempted murder and curiosity guides the player onwards through the title’s various cycles.
  

Mechanics First

 
In order to not get in the way of the mechanics focused nature of Roguelikes, the incorporation of visual novel elements often results in a kind of segregation where neither side interferes with the other. This is done in an attempt to not comprise of the qualities of both parts of the game by giving them the space they need to exist in their purest form. Such a divide is common in Roguelikes since those who play them tend to value an uninterrupted gameplay experience where story exists in its own dimension. As a result is an immediately recognisable part of the genre such as in Duel Princess which even at a glance quickly conveys its mechanical origin. This deck builder Roguelike tells its narrative beats, often between the various princesses, in between its larger sections of continious gameplay and the two do not have any meaningful impact on each other. Instead they are bound together through their common bright anime styling and emphasis on the princesses and their personalities. Having been disconnected they are free to focus on what each does best with the deck building being given the ability to lean into the castle defence and army management angles for fluid strategies while the visual novel carries the reason and influence of the player’s actions. It is not difficult to see why this division is the main version of this hybrid since it offers the developer a means of shaping the two halves individually to achieve their desired effect. 
The divide between this and the card mechanics could not be larger

If the emphasis is flipped on its head with the visual novel element being the driving force then the issues of this approach become more pronounced as can be seen in Forsaker: Ding Ding & Blade. Here the narrative is front and centre with the Roguelike being the supporting pillar to provide a means for the player to act out certain parts of the story. This imbalance highlights the jarring contrast between the two halves of the game by creating long stretches of visual novel which then suddenly stop to give way to a free-form gameplay experience that is nothing like what the player has been engaging with. It is clear Forsaker wanted to put it story front and centre so this emphasis on narrative was an inevitable outcome within this segregated approach and showcases how delicate a balance is struck in those games who successfully manage it. Should the positions of the two halves be inverted the problem is not resolved and it merely shifts the visual novel elements being the pace breakers to the flow of the gameplay which risks the player being brought out of the experience provided in the Roguelike.
 

A Fine Line

 
Another method for handling this hybrid is to more closely integrate its writing into the flow of the Roguelike in a natural fashion. Creating the space for this approach to work without it breaking the flow of the other mechanics is not easy and for this reason tends to only be used by titles able to commit to necessary reorganisation. If the game can tread this fine line then it gains the ability to more smoothly blend the two halves of itself together and avoid the jarring feels possible in a sharply divided experience. A common manifestation of this can be seen in titles like Umamusume where small vignettes are used to humanise certain markers of mechanical progress. This takes what would otherwise be a cold indication of numbers going up and down and turns it into a moment of growth in a girl’s emergent story and the consequences to the player’s actions. The effectiveness of this approach at creating a bond and telling an unstructured narrative can be see in Umamusume’s popularity and the way it even made its player’s invested in the real horses each girl embodies. Of course there is a major flaw here and that is the way it rubs up against the repetition inherent in a Roguelike. Reading the same thing over and over again can get boring leading to many players simply skipping through the scenes after a few viewings which undermines their emotional impact over the long term. 
The small stories really sell the characters journey

The ultimate end point of this merger between the two halves is a game were the visual novel is the means by which the Roguelike presents its mechanics. This style is extremely rare but one notable example of it is Gnosia and its deduction sections. Here the player has to interrogate the other characters to deduce who is the gnosia while trying to deflect suspicion away from themselves. All of this is presented within the framework of a visual novel presentation and pulls from a large pool of responses to invite the player to comb over every word and the way they were said to try and gleam information. It is the core element around which the tension of these situations is both shown and systematised and since who the gnosia is differs on each run, it keeps the search from clues in the text meaningful over the game’s play time. Being a linear Roguelike with a conclusive narrative ending does help provide a place were the player can stop playing and move on before the repetition starts to undermine the appeal of its psychological thriller.
 

Conclusion

 
Given the often uncomfortable relationship between visual novels and Roguelikes it is surprising just how many attempts there have been to make this hybrid work. To help this along there is an extensive use of the time loop as a narrative device to justify the repeated visual novel sections and why progression is tied to success in the Roguelike. Attempting to blend the two halves together results in a smoother overall experience at the risk of the narrative elements losing their impact over time and becoming an irritation. On the other extreme, segregating them can allow each the space they need to fully express themselves at the cost of having to maintain a delicate balance lest one start overwhelming the other. There is a lot of potential in this hybrid waiting to be tapped into if the conflicts between its elements can be resolved since there is a demand for a strong narrative in Roguelikes as games like Hades have demonstrated.
 
 

Sunrider Legends Tactics Review – From The Solar Sea To The High Seas



Genre – Fantasy, Naval, Strategy    Play Time – 30 hours    Developer – Love In Space    Steam

 

Sailing The Seven Seas

 
Legends Tactics marks the sixth title in the Sunrider IP and the second spin off as it swaps out space for sail. After so many games it is hard for new players to know where to start and, with the first game now showing its age, there was a need to release something to remedy this issue. As such Legends Tactics takes the main series story line and remixes it into a new player friendly form with its own twists on the story to carve out its own identity. The characters are still have familiar personalities but have lived different lives and so differ from their main universe selves in ways which inject new life into them. Artistically it uses Sunrider’s visual language just passed through a fantasy and seafaring filter to tread this line between old and new. In terms of its sailing mechanics they are an iteration of those from Sunrider 4 with momentum traded out for wind direction and this makes for some necessary improvements on that foundation. This attempt to remake the old does run into some problems when it comes to its odd relationship with its new fantasy elements and the lack of new cast members it needed to create its own identity. Are these difficulties enough to take the wind out of the Sunrider’s sails? Let’s assemble a crew of fantasy races and find out.
 

Elves, Orks And The Undead – Narrative and Themes

 
In terms of the plot, it broadly follows the same outline as the first two Sunrider games with some elements brought in from Liberation Day and Captain’s Return to spice things up. For example Cera is a small island in a sea of other small neutral islands rather than a planet in the neutral rim but its destruction by PACT is still the motivating incident for the entire plot. Recontextualising familiar aspects of the original storyline into a new setting forms the bulk of the narrative particularly during the early game. This ensures it can operate as its own stand alone title since it begins the story from its origin and explains all its world’s concepts rather than expecting the player to be familiar with them from prior entries. Those new to Sunrider do not have to play four games worth of content just to be able to have a fun time which is in the best interests of a spin off aiming for a different genre. For those already invested in Sunrider this shaking up of events gives these players a chance to re-experience them from a new perspective and gives the characters a fresh coat of paint to allow them to shine anew. The additions for Liberation Day and Captain’s Return are more subtle than a wholesale retelling and mostly aim to streamline the experience. These are things like Lynn having her own distinct personality rather than starting out as one of many similar prototypes or Crow being tied to one specific area and only being important to Sola or Chigara figuring out she is a sleeper agent. Each one allows Legends Tactics to skip over the elements of the original story it does not want to engage with while still include parts of them which fit within its world. 
Sailing on the high seas changes a man

In terms of the new ideas Legends Tactics brings to the table, they focus on trying to recapture the magic of the early titles and making it feel fresh again. It takes full advantage of its naval setting to dramatically change the way the player engages the context of the battles and the structure of the world. No longer is the world map some vaguely defined planets in a galaxy divided along nebulously lines, one look at the solid continents and islands gives immediate context as to the strategic value of locations. In the old games the player is told Far Port is an important choke point in the war but in Legends Tactics it is obvious from one look at the map why it is even before being told. This adds a lot to the texture and believability of the story since, despite its fantasy leans, much of it operates on the same axis as our own world. Race also plays a role in how the story unfolds with more existing than just the humans of the original with elves, orcs and half-elves holding various levels of political and social power. The arrogance and eternal life of the elves is the pillar around which many characters motives rotate and puts emphasis on the crew of the sunrider being a mix of all races working together as key to their success. Binding all these narrative elements together is a series of large and small choices the player gets to make over the course of the story which feel weighty and offer unique divergences. They put the player in the head-space of Shields as he struggles with these dilemmas. There is a good variety to them with some being big climatic choices where the crew can be consulted for their opinions on what to do next and others being choices made almost unknowingly during gameplay. By showing the player their actions have significance, Legends Tactics gets the them invested in the world and story they are influencing and keeps them hooked to the end.
The Shields family are certainly a bunch of excentrics

For a title which shifts the Sunrider series into a fantasy setting, it seems at odds with some of the fantastical elements of its world. This manifest in the ways it fails to properly engage with certain ideas it introduces and just moves on as if the subject is something they do not want the player to think about. Orcs are presented as the undesirable end for a fallen elf but little of what the player is shown seems to back up this view. The only orc in the story appear perfectly fine with their situation and before the rise of PACT the orcs even had their own kingdom so they clearly were not as monstrous as some characters describe about them. Their appearance is the only aspect of note as they have a pig like face, and while unappealing, it is hardly the horrific spectacle the cast seems to think they are. This leads to a slight feeling of disconnect since it is treated as this terrible punishment for elves to become orcs yet nothing outside of their appearance changes so it is difficult to feel the danger it is meant to pose. In the universe of Legends Tactics there are gods and goddess who have the divine power to reshape the world and yet they are never important or talked about outside of single example. This one character is important to the Sunrider crew but is ultimately minor in the overarching narrative but they provide the only example of divine power and makes the player question why such beings are not more involved in the world or worshipped more directly. No explanation is ever offered to excuse this inconsistency and the game moves on. In reality the existence of gods is simply an excuse to give this one character their powers rather than a considered part of the setting. There are numerous other small niggles like these throughout the game. None are so large as to undermine the overall story but they do show a lack of care and attention.
 

All Around Me Are Familiar Faces – Characters

 
Sunrider’s cast are as strong as ever in Legends Tactics and get the same new coat of paint as the narrative. Everyone gets a few traits to spice up their existing personalities and give them new angles the game can push for dramatic and comic effect. Shields is now a half-elf to push the idea of him as a neutral element who can see beyond the conflict to what the different sides have to offer which helps solidify his role as protagonist. These additions have been carefully considered to both match the character’s existing traits and challenge them in some way such as Sola being an elf allow her to have a resolution about her past and Kryska being a religious zealot rather than an Alliance one leading to friction when those beliefs are shown to be flawed. By reframing the characters they can be properly integrated into this new world without feeling like they are just the old characters cosplaying and provide arcs for them the main line entries could never achieve due to the direction of their narrative. When it comes to the new character added by Legends Tactics, they are few in number and lack impact on events. Each of them are side elements to the main story and never step outside the role of supporting the growth or characterisation of the core cast. This results in the overall cast feeling very familiar, and while the personality additions do spice things up, there is a disappointing feeling of having already seem all the characters have to offer. Leveraging more new characters to give the cast its own distinct sense of identity could have been done without it coming at the expense of the old characters so it is disappointing they did not lean more into their new material.
Character skill points being tied to affection is a nice touch

Trading The Stars For The Ocean – Visual, Audio and Technical

 
Combat is an iteration on the foundation laid in Sunrider 4 with its momentum conserving movement and emphasis on positioning. The vacuum of space is traded out from the direction of the wind carrying the ships in its wake and this change in context has allowed for the idea to be expanded on in interesting ways. Having the wind decide the direction of vessels gives the game the option to change its direction during the mission and allow the player the ability to do the same. This opens a lot of possibilities for outmanoeuvring the enemy while having to constantly keep the wind in mind when making plans for future turns. In order to utilise the winds a ship must have sails and so it follows they should be able to put them away which the game uses to present the player with the choice between faster movement in the wind’s direction or shorter range but in any direction. Maps now have a variety of terrain features from islands to block enemy or allied cannons to shallow water that damages ships passing through it. These make the ability to fold the sails important since a ship cannot simply be left to the mercy of the winds or it will just collide with the terrain and juggling the overall status of the player’s ships is given a greater importance. Legends Tactics is focused on giving the player options and this is continued into the removal of unique character ships, outside of the Sunrider, in favour of allowing the player to capture any ship they fight. As such the title offers the ability to fully customise the weapon and armour load-outs for each vessel for whatever role the player want them to fill. This brings us to the turn based person to person combat that takes place during boardings and at certain points in the story. If it had to described in one word it would be unremarkable, it is a basic round based system with simple attacks, skills and one use items that does exactly what it needs to and nothing more. The problems which were present in Sunrider 4’s ship battles return in Legends Tactics in the form of it running out of new ideas in the late game and resorting to ship spam to try and escalate the difficulty. Just like before this is more frustrating and grindy than an actual challenge and sours what should be a grand finale with a lack of inventiveness to match the game’s engaging naval combat.
Positioning matters more than ever

From a presentational standpoint everything in Legends Tactics is in line with the increasingly high quality of the Sunrider titles just passed it through its own fantasy filter. The shiny gleam of technology is replaced with the wood, stone and magic of this naval world and yet it maintains the same visual styling which made the older games so memorable. Each character’s redesigned appearances preserve their core appeal while making changes to capture how their personalities would influence them in this new setting. Backgrounds sells the locations as entirely novel places for the series with everything from Japanese style wooden homes to grand stone temple built by the elves. Supporting these visuals is a suitable soundtrack and SFX for the setting which leans into the game's physicality and smaller nature as a means of creating the feeling that the impact each action or scene has as greater weight due to this contraction in scale. Overall, this package comes together as one of Legends Tactics stronger elements and works to support the tone and texture the game is aiming for.
 

Conclusion

 
When making a spin off of a series with a strong identity like that of Sunrider, it can be difficult to balance the expectations of old and new players and yet it is this fine line Legends Tactics choose to tread. It remixes the storyline of the Sunrider games into a fantasy setting with a series of exciting changes to prevent it from being too familiar while still making sense without any prior exposure to the original titles. The cast remain their old selves and the change in circumstances allows them to show sides to themselves not possible before. Visuals and audio are similarly reimagined from the old for Legends Tactics as the familiar art-style is put to work for sails and sorcery rather than spaceship. There is an evolution of the gameplay set out in Captain’s Return, the naval based nature of the combat is take full advantage of to introduce new ways to control the movement system and add terrain for the player to consider as they plan their next move. The title is not without its own issues such as its unwillingness to properly engage with its fantasy elements and the combat falling back on ship spam in the late game, but, overall, these do not detract from all that Legends Tactics achieves in its play time.
 
 

Verdict – 

A successful reimagining of the Sunrider series into a grand tale of magic and naval battles which blends the new and familiar into an exciting adventure. Unfortunately it also inherits some of Sunrider's weaker elements such a reliance of ship spam for difficulty and inability to engage with its concepts in a meaningful way.
 
 

Pros - 

 
+ Remixes the storyline of the Sunrider series into a tale of sail and sorcery with a few fun new additions.
  
+ The cast get a new injection of life as they are reimagined in this fantasy setting.
 
+ Improvements to the movement system and the option to more freely customise your ships make for engaging naval battles.
 
+ The presentation maintains the same high and improving standard as the previous titles.
 

Cons -

 
- Not quite comfortable with its fantasy concepts and often leaves them awkwardly unexplored.
 
- Lack of new characters weakens the game’s sense of identity as more than just a rehash of old content.
 
- The problems with Captain’s Return’s late game are also present here with unit spam being a common occurrence.
 
 

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