Adventure: All in the Game - Extras

Here's my collection of behind-the-scenes info on Adventure: All in the Game. If you haven't finished that game, don't read any further!

General Info:

Like its predecessor, Adventure: All in the Game was inspired by Jasper Fforde's Thursday Next series. I'm not sure exactly how much of the game was directly inspired by First Among Sequels, but there's no denying that the fifth Thursday novel was a definite influence (especially the "evil Thalia/Thursday" plot element). I tried to hold off until the game was finished before reading the sixth novel (whose publication took me completely by surprise, as I'm notorious at keeping up with Ffordian news), but I eventually caved in towards the end of May (when I was play-testing the game).

The part in the conversation with the Manhunter extra in which Thalia mentions that low-res characters can only see in 16 or so different shades was something I thought up just as I was inserting that conversation into the game and thought it would be fun to include (and possibly even foreshadow a puzzle in a sequel -- who knows?), and this might have possibly been inspired by Shades of Grey, which takes place in a world where people can only see one of six colors of the spectrum.

There's no real story behind Adventure: All in the Game's title. I was trying to think of a clever subtitle that was somehow game-related, and Tommy Edward's version of the oldie "It's All in the Game" came to mind. The song itself never appears in the game (ha-ha, see what I did there?), but it features very briefly in the game's trailer.

I realized something interesting as I was writing this snippet: Remember when I listed the main sources of inspiration for Adventure: The Inside Job on its Extras page? (If you don't, then go there and refresh yourself.)

Well, the last inspiration I listed was ZBS's Ruby series, a series of audio dramas whose titular character inspired Thalia to some degree...and speaking of degrees, The Fourth Tower of Inverness, the very first audio drama created by ZBS, was where I heard "It's All in the Game" for the first time. And in case that number of degrees of seperation was too large for you, the ghost of Nikola Tesla starts singing a parody of "It's All in the Game" near the end of Ruby 4 (please don't make me explain it -- listen to the audio drama instead).

In fact, you know how I keep saying how much the Adventure series is inspired by Jasper Fforde's Thursday Next series? Well, I first heard of the TN series through ZBS (I ordered the first two stories in an audiobook format). I might venture to add that the cover art for Ruby 4 (as well as several other pieces of ZBS cover art) was done by the same artist that did the cover art for the latest editions of the King's Quest, Space Quest and Police Quest Companions (Alan Okamoto), but that might be a bit of a, I already just said it.

Just to clear up any misconceptions that some people might have right here and now, I don't hate action games. Though I don't play them very often, there are a few that I really enjoy. I just wanted to incorporate the theme of action games encroaching on adventure games' turf into this game, since the two genres haven't exactly "gotten along", and whenever action elements have been incorporated into adventure game, the results haven't always been that good (e.g., King's Quest: Mask of Eternity, Broken Sword 3: The Sleeping Dragon, Dreamfall: The Longest Journey). I was walking a fine line trying not to paint all action games as mindless fighting games with all adventure games being calmer, cerebral experiences in comparison, but I suspect that I might have crossed that line a few times. So if I did come across like I was creating a strawman of the action genre, then I apologize.

Adventure: All in the Game is considerably bigger than Adventure: The Inside Job. With ATIJ, I had one main folder for the game's resources, with various subfolder for the character animations, backgrounds, added backgrounds, music, sound, text, etc. I tried using the same system for AAITG, but it soon became apparent that this wasn't going to work. I had to create a seperate folder for nearly every room in the game. characters with a lot of animations got folders (like Thalia and Sledge) of their own as well. AAITG has over 6000 sprites and 47 rooms (some of which use multiple backgrounds).

While The Inside Job was mostly about exploring unused of obscure scenes and patching up plotholes in various adventure games, All in the Game was more of an experiment in doing familiar things differently. The mundane puzzle-solving in the first third is thinly disguised as lessons for Sledge, and when Thalia opens the puzzle box she finds, it's not the expected way one would open such a box at all. I also got to do a little more delving into Thalia's character, and it was fun coming up with ways that she ans Sledge would bounce off each other.

Another thing I experimented with in this game was a more open, less linear approach. It was tricky trying to lay the game out so that the player had a reasonable amount of freedom, yet at the same time the story wasn't overly compromised. I tried to create one large main story with several smaller stories going on in the background, and you won't learn about the smaller stories unless you talk with many of the characters and pay attention to what's going on in the various scenes. Since the main story was already fairly exposition-heavy, I thought this might have been the best approach. It was also fun to move characters around between the various rooms and have new characters show up in previously visited settings to give a feeling of how busy the "GameWorld" is.

I also did a lot of playing around with making different things happen depending on what you do throughout the game. Thalia and Sledge go through a different series of rooms depending on whether you go to the "offensive" game or The Big Red Adventure first, the character who responds to Uglaz's code phrase will say something different depending on whether you spoke to him earlier or not. Though this game does take place in a sci-fi/fantasy world in the broadest sense, I wanted to give it a more realistic flavor this way.

The script for Adventure: The Inside Job was contained in a single MS Word document. The much greater size of the sequel prompted me to find a tidier way of organizing the script. I ended up using Treepad Lite. This turned out to be very helpful -- the various rooms could each be assigned their own folder, with folders within it for various characters, events, objects and hotspots.

My design for the CommKey in ATIJ was quite fortuitous when it came to the optional "imprisoned" scene in AAITG. I at first planned on having the laser beams get fried by a piece of metal or a mirror, but when I realized that CommKeys A) can't be taken from their owners, B) are virtually indestructable, and C) have a shiny metal casing. I wish all my writing problems could have solutions as convenient as this. Before starting work on Adventure: All in the Game, I bought a high-quality webcam. This was helpful in two seperate ways. The first was -- not surprisingly -- its video recording capabilities. There is a technique used by some animators where live actors are filmed, then artists paint over the frames to create a more stylized look. This is called rotoscoping, and was used by Sierra On-Line for its more realistic games (like Space Quest V and King's Quest VI). a more well-known example of rotoscoping can be seen in the animated Lord of the Rings movie from the 1970s.

Some animation purists consider rotoscoping to be "cheating", claiming that it robs animation of its freedom and spontanaeity. Though I am inclined to agree to some extent, I must confess that I used a lot of rotoscoping in this game, almost entirely for Thalia. I wanted to make sure that her various movements looked as realistic and natural as possible, and having a webcam proved invaluable in this respect. (Although I admit that I started relying on Poser much more for my rotoscoping efforts later on in the game's development.)

The webcam's other useful feature was its ability to record very good audio. This was very good, since the last microphone I had worked very badly with my computer, despite being brand new. You could have that microphone inside your mouth while you yelled at the top of your lungs, but the playback would seem like nothing more than a faint whisper. With my new microphone, I was able to record many sound effects myself instead of relying soley on the Internet and game sound effects.

Unlike its predecessor, Adventure: All in the Game makes use of dialogue trees (different topics that you can talk about). You may have noticed that if you start a conversation, then end it without choosing a topic, Thalia will say "On second thought, forget it", or "Actually, never mind." She won't say "Good-bye" or "That's enough for now" unless you choose one or more topics.

In nearly every other game I've played, the protagonist will say "Good-bye" to another character even if you haven't talked with that character about anything. I've found it a little odd that even modern-day adventures like Telltale's episodic titles do this. I've played a lot of adventure games, and so far I've found only one game where the protagonist has different "ending the conversation" lines depending on whether or not a topic was chosen: Toonstruck. I was so intrigued by this that I decided to implement it in AAITG (by adding a boolean variable that's changed to true whenever a topic is picked). It kind of ironic that a game set in a cartoon world has a dialogue system with a more realistic design than those of most other games.

Another thing I borrowed from Toonstruck was the "getting caught" element. If Drew and Flux get caught by Nefarious' henchmen (who are so easy to outwit that you practically have to WORK to get caught by them), the game doesn't end. Instead, Drew and Flux get locked in a jail cell without their stuff, and you have to solve another puzzle in order to escape. Getting imprisoned doesn't effect the game's overall plot (except for the henchmens' dialogue in one cutscene), but it does emphasize the danger that is looming over Drew and his friend. I decided to implement something similar in AATIG.

Speaking of Toonstruck again, lot of interesting adventure-related things started happening as I was working on Adventure: All in the Game. News of a possible sequel to Toonstruck started circulating, video footage of an unreleased alpha of Warcraft Adventures was released on YouTube. Since I was using material from both of these cancelled games, I really had to scamper to make sure the information on them included in AAITG wasn't outdated.

AGS seems to have a mind of its own at times. At one point, the "digging up Billy-Bob" cutscene (which is supposed to be skippable with the Esc key) suddenly stopped responding to all key-presses -- the only things which WOULD skip a line of speech were the right and left mouse buttons. To make matters worse, this problem persisted after the cutscene ended -- none of the shortcut keys worked, and I couldn't skip lines of speech with anything but the mouse buttons. I tried repeating all the things I'd done prior to the cutscene (testing a shortcut key every one or two steps), and when I finally got to the cutscene, it responded to Esc as it was supposed to, and after it was over, the shortcut keys reacted normally. I could never replicate that strange behavior.

Another time, the game wouldn't give Thalia an inventory item even though everything else in the script which was supposed to give the item to her behaved normally, and I was forced to insert an "if" statement to make sure that she got the item. I kept running into these sort of bizarre quirks which often sparked irate internal monologues like this: "No, no, no! I set the commkey_open variable to false when I left Room 23, AGS! Why are you acting as if it's set to true when I go to Room 22? That variable's never supposed to be true when a room loads, and I sure didn't set it like that in Room 22's Room_Load section! Why are you doing this!?"

The amount of original characters and backgrounds is slightly higher in All in the Game than it is in The Inside Job. Everything in "the most offensive adventure game ever" is 100% original, and so is everything in the junkyard scenes (except for Uglaz and Yodle). Though Uglaz is a pre-existing character, all of his animations were created by me, and he probably took the most time to animate because of the complexity of his design as well as his cel-shaded look. Everything in the room with the slider puzzle is also original, with the exception of the beast that attacks action. This is "Mr. Tusker," a freebie from PoseAtier (EDIT 4-18-12: the PoseAtier site seems to have been hacked, and visiting it may infect your computer, so don't go there!). All of the characters are from actual games aside from Thalia and her "evil" side, Tlotzin, Sledge, Mr. E., the bum, Qoppa, Ichabod, Terrence, Felicia, Mr. Tusker and all the offensive adventure game characters.

I wasn't sure what to use as the icon for the game for a long time. Then I realized that I never found an appropriate place to put the adventure game genre's crest (which appeared in the unused SQ4 room and behind the credits in ATIJ) in the gamew itself, so I decided to use it as the icon. Unfortunately, some strange glitch made the icon fail to show up in Windows XP. Try as I might to solve this problem, I never succeeded in getting it to show up. If you're running another OS, you'll see the icon, but if you're not, the only place you'll see it is on the taskbar (or in the upper left corner if you're running the game in a windowed mode).

Here's the icon itself (twice its original size so it can be seen more clearly):

Character-Specific Info:

Although I reused all of Thalia's walking and talking animations from Adventure: The Inside Job, I redid all of her idle animations (since the ones in ATIJ don't look that good to me now). I also made one slight edit to her left and right SVGA sprites: I increased the length of her boots. Until I started work on AAITG, I didn't realize that Thalia's boots are slightly shorter in the sprites where she is shown in profile. Fortunately, the sequel gave me a chance to correct this mistake. I also tweaked her down-left and down-right standing sprites a little.

There were several reasons for making most of Thalia's lines appear as "thoughts" in pale blue bubbles. One reason was because having most of her lines be merely thoughts means much fewer speech animations to draw and implement. Another reason was that when I had Thalia's thoughts appear in ATIJ, they were in text windows, which took up a lot of the screen, paused all the action on the screen and forced the player to press a keyboard key or mouse button in order to proceed -- the smaller, non-blocking GUIs I had her thoughts in AAITG appear in seemed like a considerable improvement.

I had planned for Sledge to be a pre-rendered 3D model from the start. I thought that a 3D character would be much easier to deal with than a 2D character -- it could be as complex as I wanted, I wouldn't have to worry about perspective or anatomical errors, and I wouldn't have to redraw it for every single frame. How could a 3D character possibly be harder to animate than a 2D one?

Very easily, as it turns out.

After the long time I spent looking for a fitting premade 3D character and modelling the parts that I couldn't find any free substitutes for, animating Sledge turned out to be a lot harder than I could have imagined. Poser 7 (the program Sledge was rendered in) is quite the unpredictable little beast at times. It would often move parts of Sledge's body when I didn't want them to move, bulk out his body for no reason, make his hand almost twice as big as it should have been, and even shrink his eyeballs and turn everything but the pupils completely white. Combined with the frequent crashes, the long times it took for files to load and the lag that resulted from moving something as small as one of his finger joints made this a pretty frustrating experience. However, once I got used to animating in Poser, the hair-pulling factor was lessened a bit.

The figure I used for Sledge was Daz3D's Hiro 3, and his armor is the BodyHammer, also from DAz3D. The BodyHammer was designed to fit a different figure than Hiro, so this caused a few more difficulties. The texture on the BodyHammer is a modified version of a texture included with the model, and Sledge's hair and eyepiece were modeled by me.

Oh -- and the "GAB" in the name of Sledge's weapon of choice stands for "Giant-Ass Blaster".

When I was still in the planning stages for this game, I knew that I wanted a scene where a character carrying a magnet got stuck to Sledge's armor. The problem is that I couldn't think of a fairly obscure protagonist who would have a magnet in his/her inventory. This sparked one of the most grueling Google searches I've ever embarked on: trying to find an adventure game walkthrough with a magnet mentioned in it. It wasn't until I was nearing the end of my rope that I discovered that Jerrod Wilson, the star of Sierra On-Line's Gold Rush!, had a magnet as an inventory item. It was a remarkable coincidence that this character happened to be one of Thalia's fellow agents as well.

EDIT: My memory is a bit fuzzy, but I think the idea of character carrying a magnet and getting stuck to Sledge was inspired by the intro of Y&T's "Summertime Girls" music video. Just before the song begins, a lonely guy is walking along a beach carrying a "heavy metal detector" when it suddenly gets stuck on something and he ends up pulling one of the group's singers out of the sand (because of the metal accessories he's wearing). It takes a couple of seconds for the singer to get unstuck from the metal detector before he can join the rest of Y&T and start singing the song. (The same video also involves a lifeguard carrying his girlfriend [a mermaid] to the beach and watering her with a plastic watering can, one of the singers resorting to a bazooka to win an arcade game in an attempt to impress a girl and a guy in giant robot suit. You owe it to yourself to watch this thing.)

I originally wanted to name Qoppa after a diacritic (a mark used to effect the pronunciation of a letter, e.g., accents[`,'], tildes[~], etc.), but I couldn't find any that sounded like fitting names. "Qoppa" is an uncommon letter of the Greek alphabet whose English equivalent is "Q" (it's also the gold symbol on Qoppa's backback).

I was disappointed that Qoppa was never in a scene where he was that close to the viewer. I did my best to give him a unique artistic style, but since he's so far away from the "camera", it's hard to appreciate it. He was animated in Flash, and his mutated form was my first real experiment with Flash CS5's figure animation feature. This was both a blessing and a curse. On the one had, it made animating Qoppa's body a lot easier, on the other hand, various quirks in CS5 would produce several unwanted things to happen; e.g., removing the color from one region of Qoppa's body or literally giving him two left feet by replacing his right leg with a copy of his left.

Anyway, here's some unresized, unpixcllated pictures of Qoppa, normal and abnormal.

EDIT: The sequence where Action gets knocked out with the sandbag is a homage to the ending of The Neverhood in some ways (especially Action's "Son of a --" line). That ending is amazing, by the way: it combines tension, slapstick, awe, poignancy and happiness all into one tidy package -- and it's all done in claymation!)

Scene-Specific Info:

The "opening gambit" of All in the Game was inspired by Season 2 of Telltale Games' Sam and Max series. It seemed like a good way of familiarizing players with the game's interface. I also thought it would be fun to also throw people who have just finished the previous game a curve by putting them in the shoes of a "different" protagonist.

I was contemplating having Judith go undercover as the protagonist of The Dig, Boston Low, since they both the same dramatic "graying at the temples" look. However, I found it would be a lot simpler and fitting to have Thalia disguise herself as a female character that technically never appeared in The Dig rather than the game's male protagonist. (Speaking of which, I gave a little nod to Judith being the "first draft" of Maggie Robbins by making her speech color yellow -- the same color as Maggie's.)

The sprites for Toshi, Judith, the alien bird and the unused background from The Dig are all from ATMachine's immensely interesting (as well as image-heavy) website (and this is one situation where I actually DID ask permission). Still, I had to make a large portion of the animations (mostly) from scratch. I painted over Boston Low's in-game sprite to create Toshi's walk cycle, and I painted over Sylvia's walk cycle from Indiana Jones and the Fate of Atlantis to create Judith's walk cycle. The discussion about The Dig's production is all based on the real history of the game's development, and you can read about it on ATMachine's site.

The alien bird's calls are from three different North American birds -- the sora, the black-crowned night-heron and the limpkin.

In the intro, Tlotzin was originally going to mention that the reason the Adventure division of the CGMS needed more help was because of Tales of Monkey Island, the Special Edition of The Secret of Monkey Island, plus the soon to be released Special Edition of Monkey Island 2. Telltale Games' announcement of the upcoming reboot of the King's Quest series in February seemed like a much more current event.

In case you missed it, the name of the dark brown dog that appears during Thalia's first visit to Toonstruck is Maggie. I didn't realize that that dog had the same name as the woman Thalia disguised herself as in the intro until after I integrated her (the dog) into the game.

The unused background from Toonstruck was taken from a video on Laura Janczewski's site. I had to carefully edit Drew out of that video by combining several frames of it where he was in slightly different poses and positions (I eventually had to resort to using the clone brush to recreate the background he was blocking, however).

When I was making the sequences where Sledge and Thalia are leaving Grim Fandango, I discovered that AGS's FadeIn/FadeOut commands were blocking -- even if I had something animating before the room faded in or while the room faded out, the animation would always pause. The result was that if Thalia and Sledge were walking before a room faded out, they would pause when the fading started, or if I tried to make them walk before a room faded in, they wouldn't start walking until the room had faded in completely. This bugged me for a while, and I managed to get around this little problem by using Edmundo Ruiz/netmonkey's Tween module. The fading out/fading in effects you seen in these scenes aren't the FadeOut/FadeIn commands -- they're made with a black sprite with the same dimensions as the screen, which becomes fully opaque when a room fades out and fully transparent when the room fades in. (By the way: both sequences of rooms are actually just one room with three different backgrounds. I thought that doing this would make things a bit tidier and result in a slightly smaller game size.)

In both commercial and amateur 2D adventure games, I've seen bushes, tussocks and isolated clumps of grass with masks applied to them that make a character appear behind them, but I've never seen the same technique used for an entire field of grass. It seemed like a great idea for a hi-res scene -- I mean, if your characters are in a field of grass, why not make it look like they're standing in grass and not just a flat green plain with a grassy texture? I only used this technique in the "most offensive adventure game ever" scenes, but I think it worked pretty well and was worth the effort. It's pretty simple -- it's just a bunch of grassy walkbehind masks stacked one on top of the other.

I wanted the sound effect when the theater is revealed to be a really dramatic booming noise, and I wasn't sure how I would create such a sound. I ended up recording my fist smacking my desk, then making some extreme modifications to it in GoldWave (including adding an echo and a flange effect). The sound that plays when Action is revealed is from the movie "Village of the Giants" as featured on Mystery Science Theater 3000 (Episode 523). To be more precise, it's a slightly modified sound of a light switch in a theater being flipped.

And speaking of MST3K: Yes, the name Thalia calls Sledge when she first meets him is an MST3K reference (from "Space Mutiny" [Episode 820], to be more specific).

The sound you hear when the piano gets shot is a mix of noises from a documentary featuring Ralph Ortiz destroying a large piano with an axe. This is a very unconventional form of art called "destructivism", wherein the act of destroying something is how the artist creates a piece. The 24-minute recording can be purchased at ZBS (under the "Zeeber Gold" category).

The game Sledge goes to for his final assignment doesn't exist -- I needed a series of puzzles for Sledge to call Thalia about, and simply making them up was the easiest thing to do.

Thalia's remark if you try to visit Tlotzin's game after getting a cross-genre permit ("the offal will collide with the rotating air circulation device at a high velocity") is heavily inspired by a line from Space Quest V that was meant to appear after Roger's infamous "zany transporter blooper" but never appeared in the final game. (I actually have a whole site documenting material cut from Sierra On-Line's games.)

The "digging up the device" puzzle was lifted almost in its entirety from an Ozark folktale called "The Well Digger" (from The Talking Turtle and Other Ozark Folk Tales, by Vance Rudolph). In this story, a man is digging a well in his pasture and finds that one side has caved in, filling the well with rocks and dirt. Discourage, he throws his hat and coat on a nearby fence, tosses his digging tools under some nearby bushes and heads to the river to go fishing. When a neighbor comes by and sees the man's hat and coat hanging on the fence, the well caved in and no digging tools in sight, he thinks that the man was digging in the well when the wall collapsed on him, and everyone comes swarming in to dig up the well to recover his body. By the time the man returns from fishing, the well is completely cleared out, and he thanks his neighbors for digging it out, saying that it would have taken him at least a week to clear it out on his own.

Everything said about Tlon: A Misty Story in this game is true. The game is impossible to complete without a saved game that a fan was able to put together, and despite its fairly recent release, the company that made it has never corrected this problem. I didn't have any particular game in mind when I thought up the idea of Thalia placing the device in an obscure game, but when I heard about Tlon, I couldn't resist making use of it.

I was considering making dying an option in this game, but only in two spots: one when Thalia is cornered by Qoppa and one in the junkyard. I decided to leave out that feature because by the time I got to the KQ5 scene, I'd been working on the game for over a year and didn't want to make it any longer than I had to.

The junkyard and crane cab scenes took me more than a month to complete, mostly because of all the animations in them.

I thought the scene from Broken Sword 2 at the very end of the game would be difficult to implement since not only is it a scrolling screen, but the background and foreground move independently of each other as the main character moves to either extreme of the room (in other words, parallax scrolling). Also, unlike Sierra and LucasArts games, I had no means of accessing the game's resource files so I could capture each part of the scene individually.

However, I discovered a bizarre glitch when I was trying to capture some screenshots from the game using a program called SnagIt. When I captured a screenshot while a character in the scene was walking, nearly all of the objects in the scene (including the ones in the foreground that were blocking parts of it) would be absent from the resulting image. This made it a lot easier to break the scene up, since I didn't have to guess what was behind the objects in the foreground. Here's what that scene looks like without the foreground objects (strangely, the lava lamp on the central table has been replaced by a plain brown vase).


An incomplete rendering of Tlotzin's game. I was originally planning on having Tlotzin sit on a projecting "bench" by the door into the pyramid, but I decided that having him sit on the steps would both make the scene less crowded and make it easier for the player to see him and the various items beside him. The different models were used to determine the size of the characters in the scene depending on where they were standing or sitting.

This is an early render of the room with the slider puzzle. As you can see, it's pretty uninteresting (one of several reasons why I decided to punch a hole in the ceiling and add a pile of rubble beneath it).

Poser 7 has an odd quirk of occasionally continuing to animate a character past the last designated keyframe (i.e., continuing to raise an arm even though you only wanted it to be raised to a certain point), resulting in some very unusual poses. Here's one that I thought was amusing enough to get a screenshot of.

The unfinished mud pit scene. For the "most offensive adventure game ever" scenes, I painted over simple Bryce renderings to make sure I got the perspective right (you can still see some of the Bryce bushes I put behind the mud pit in the background). I also made the drawings large so that any flaws would be less obvious once they were resized to 640x480.

Thalia's CommKey, now in eye-popping 3D!

Qoppa's design/reference sheet. The 3D model is Apollo Maximus. I tried to distort his figure so that he looked more lemur-like, but though that failed, he still came in handy when it came to animating the pattern on Qoppa's fur.

The only visible parts of the guy who lifts the device out of the hole in the "digging up Billy-Bob" scene are his hand and the device itself. While I was positioning him in the scene, at one point he ended up in this amusing position behind one of the other men.

Before I decided to have Thalia imprisoned in Warcraft Adventures, I thought I would have her imprisoned in this scene that I made. I'm pretty glad that I changed my mind.

Every now and then, AGS screws up the colors of my backgrounds, forcing me to re-import them. Still, I thought this was a surprisingly pleasing night version of the Toonstruck scene.

Uglaz and Sledge in the junkyard scene. Like Thalia, I used rotoscoping for a lot of Uglaz's animations. Uglaz was made using the free Apollo Maximus figure.

A WIP of the crane cab. It and all the other 3D scenes were rendered in Bryce.

I used a screenshot as a background in the closeup in the outro and AGS messed up its colors while I was working on the outro scene, creating this trippy image.

Development Journal

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