Author Archives: Elizabeth Parker

About Elizabeth Parker

A game design and creative writing student at Sarah Lawrence College ('19), Liz aims to create games with fun and engaging interactions that have deeper lessons beneath the surface.

Post-Mortem : House H(a)unter

A screenshot of the dummies Casper steals a costume from.

A screenshot of the dummies Casper steals a costume from.

My game is about two ghost hunter twins, Becca and Casper Radley, who attempt to convince a wealthy couple that their mansion is haunted so that the couple will be forced to sell it at a price the hunters can afford. They are given a week to do so, and so every day the siblings talk to the people of town to fabricate a different haunting. In the process, they accidentally stir up real ghosts who are connected to the emotional instabilities of the people in the town, and so the player must exorcise these real spirits or risk being killed during their con.

In the levels I am submitting for this class, Casper goes to the local bank museum and steals a cowboy bank robber costume from one of the exhibits. He does so by trapping the bank owner in a photo booth and convincing the only employee to go help her. The sheriff’s mannequin disappears once he has done that, and there is a mystery as to where it went (spoilers, it will attack Casper in the next level).
Tessa Wycome, owner of the bank heist museum.

Tessa Wycome, owner of the bank heist museum.

The radical aspect in my game is in its manifestation of emotional conflict. The ghosts are representations of the town’s denizens, and have been a part of their psyches for so long that they cannot notice them. The only people who are capable of comprehending the extremely damaging way the townspeople are going about their lives are the twins, who are outsiders. The twins are drifters, and show a sort of amused disdain for the connections that give rise to these ghosts (as evidenced by the fact that the only ghosts they have encountered before are fake ones that they self manufacture), and their lack of understanding about a greater emotional support network likewise hinders their ability to exorcise real ghosts at first. In order to effectively deal with the enemies of the game the twins don’t become physically more powerful, but rather learn more about how to handle interpersonal situations with a level of sincerity.
This game idea was inspired by my love of cheesy ghost hunting reality TV, and from learning that in many locations a homeowner must disclose that a house is haunted before selling the property. It has for the most part remained true to this original inspiration, though in the earliest iterations of the game Casper was himself a real ghost and the events of this game were not the first time the twins had committed this con. The iteration I brought to the first class of the semester is fairly similar to the one which I ended up completing for my conference, especially Casper’s general amorality. The major change in concept over the course of the semester is the concept of ghosts as a manifestation of emotional turmoil. In previous iterations, there was only one real ghost (the ghost of one of the homeowners’ deceased brothers), and I felt that this reduced the importance of the other NPCs since they weren’t involved in the central haunting.
Sheriff Wycome's Hat

Sheriff Wycome’s Hat.

Development hit a bit of a snafu when I ran into an issue with the advancement of conversation flags resulting in the player missing some conversations. This has been rectified for the time being, though in the future I will likely end up removing the dialogue system I made and replacing it with a plug in.

From crits, I learned that people wanted more sound, and considered the strong point of the game to be the characters and humor in their interactions. To that end, the next thing I intend to add is more hitbox animations, extending the background music, adding sound to Casper’s footsteps, and stopping all background music when in the back of the museum.

I could have used my paper model more in earlier phases to predict the extensions I’d have to make to the maps. One of the weakest visual points of my game in its current phase, is, at least in my opinion, that there’s large areas of empty space beyond the boundaries of the map. This was done to avoid blue space visible on the edges. Had I used a frame around my player character during the initial testing, I would have been able to see how much extra background I would need and could have redone the art so that I could balance out where the walls were with how much space I needed in the map (my first draft was extremely crowded as well). One of the major critiques I received was that people were confused as to why they couldn’t walk further once they hit some of the invisible walls, and this could have been rectified if I’d paid more attention to my paper models.

The thing that surprised me the most about my abilities when making this game was how smoothly most of the initial programming went this time around. My last game, managing scene transitions was very difficult, but using the Game State Manager I was able to program in complex scene states and maintain a game across multiple rooms.
A screencap of one of hte conversations in the game.

A screencap of one of the conversations in the game.

The most difficult thing to program was the conversation manager. If I were programming the game again, I would have written it with a simpler dialogue system in mind for easier debugging. Though I’m satisfied with the dialogue interactions that I came up with, the system we used from the book was not intended for the level of complexity I ended up with. I would have also started implementing the dialogue sooner. If I had discovered that it was having issues earlier, it would have been less stressful to debug it before the due date.

House H(a)unter: Event as Narrative

An image from the first iteration of the paper game.

An image from the first iteration of the paper game.

The radical element in my story is in the link between emotional burden and literal danger. All humans have skeletons in their closets, but in the town of Tawny Mill the things that haunt them might at any moment literally haunt them. The ghosts which pursue Casper over the course of the story are literal manifestations of the conflicts within others: a woman’s obligation to maintain the legacy of her deceased ancestors, another’s conflict about her murdered brother, or a literal demon linked to a disgraced exorcist to name a few possible levels. Moreover, these hauntings are much like the traumas people encounter every day in that over the years one becomes desensitized to them. The people Casper deals with in his quest have lived with real ghosts and so do not acknowledge them, rather allowing them to become an ingrained part of the subconscious. They can only be scared by the ghosts (problems) which the ghost hunters manufacture for them. Likewise, it takes the intervention of an external force (the ghost hunters) to cause the characters to confront their issues.


In the levels constructed this term, I focused on the establishment of a manufactured haunting. Casper acquires a costume which he can use to frighten the people occupying the mansion, but must select his second choice in costume as his first has mysteriously disappeared. The first costume, that of Sheriff Wycome, is associated with a man whom the museum is fixated on, to the point that his descendant feels obligated to put on his mask in order to run her business. Through dialogue, she is repeatedly shown to be unhappy despite her constant attempts to present a positive face and call herself the “Sheriff”. When Casper goes to steal the Sheriff’s costume and it has disappeared (followed by footsteps), it represents the fact that by trying to find out about town problems he has inadvertently opened himself to the suffering that involves.

This is furthered by the fact that both her and her only employee are only smiling when the player is nearby. When the sheriff dummy is collided with for the first time, a “spooky” sound plays, signifying that he will be a figure associated with a haunting. When the sheriff disappears, it is accompanied by strange footsteps and the destruction of the music option. This foreshadows the appearance of a real ghost in the next level, and indicates that the area is no longer a welcoming one.

A screenshot of the mannequins which Casper steals from.

A screenshot of the mannequins which Casper steals from.

I attempted to surprise the player with the disappearance of the sheriff ghost. The position of this set of levels (both in this standalone version of the game and in the completed version of the game that I envision) this is the first implication that ghosts really exist. Casper and Becca speak about ghosts as a thing to fabricate, and seem to be old hats at tricking people into believing in fake ghosts, and so initially the story is positioned to be one with no hauntings. This of course means that many players are going to assume that there must be a ghost eventually – almost everyone who has played the game has said in the first room/when I explain the concept that they hope there’s a real ghost – and so the surprise has to be in when the ghost appears. I position the sheriff as being the mannequin that Casper will steal a costume from by making him a prominent figure in the back of the museum – in early playtests, most people expected they’d get the sheriff costume – and then make him disappear. His prominence, which is what drew people to him prior, is in fact the thing that brings him back to life as a spectre.

A mannequin of the current homeowner's great-great grandmother Moira Blackwood.

A mannequin of the current homeowner’s great-great grandmother Moira Blackwood.

My game needs a few more hitbox animations to reach it’s full potential of interaction, but I believe that in it’s current state it is still entertaining. Most people that have played it comment on the fact that they enjoyed the dialogue and the music, and found the art style cute and expressive.


I’d like to push the player more into choice and conflict by presenting options to gain more influence in the hauntings at the cost of the NPCs relationships to one another. This would likely also increase the presence of the real ghosts, rather than the resolution of them. I’d want to offer some different ways that the player could pull information from the NPCs, or in the later phases solve the crises that the NPCs are having, so that the players can choose how to interact with the world. I’d also like those options to result in different items to “haunt” the house with, to account for different strategies and playstyles. At some point I think I probably will have to provide choice in dialogue, because this is a game with quite a bit of dialogue-based narrative and I think it will make the player more engaged in that dialogue if they have input.

The one area in which I cannot give the player conflict or choice is in the haunting itself. Conning people into selling their property is not a moral action, and so it will be necessary to make the Casper and Becca amoral enough that people won’t chafe at the idea of following the plot without putting them in a frame of mind where they no longer care about hurting others (such as when playing games like Saints Row or Grand Theft Auto). In order to do this I’ll need to make the con seem not moral but at least less hurtful to the owners of the mansion in order to prevent the player from distancing themselves.

  Right now, the concept of developing the interactions between characters, as well as the aesthetic character of the town, are what keep me enthusiastic about working on the game. I also reframed the way I develop each arc this term. Rather than being able to visit each location every day and develop the original hauntings over time, a new location is unlocked each day and the player uses the new haunting (or an old haunting) to scare the homeowners. After haunting using the new ghost, the next day will be divided into two parts: the first an opportunity to work to resolve the real hauntings caused the previous day and the second uncovering new hauntings to fake.

Radical Game Design: House H(a)unters


Casper – The player character for this level

  House H(a)unters takes place in a modern setting which is mostly realistic, if slightly absurd and more prone to supernatural occurrences than ours. The player takes on the dual roles of Becca and Casper Radley, twin ghost hunters who are down on their luck. In order to fund the new season of their show Becca, the snake oil salesman of the two, decides they will convince clueless rich couple Mira and Nigel Blackwood that their mansion is haunted so that she can buy it at a discount and then resell it for full value with the ghost mysteriously gone. The Blackwoods are eager to sell the house quickly, and thus give the twins seven days to prove that the ghost is gone before accepting a higher offer they have already received.

For part of the game, the player will be inhabiting the role of Becca, who is extroverted and conniving. Her levels are focused toward discussion with other characters, and manipulating them into believing in the fictional “phantoms”. Casper, who also plays the role of whatever ghost the player constructs using the clues they find during the day, is more analytical and his levels tend to be more focused on finding physical “evidence” and props he can use. For the levels in this class, Casper visits the Tawny Mill Bank and Bank Heist Museum and learns about one of the potential phantom roles he can inhabit: that of a deceased bank robber from the 1800s.

Tessa – A museum owner.


The bank heist museum.

One question I’ve struggled with while working on this game for the past couple terms is: are there real ghosts, and if so how many? It was quickly obvious to me that I ought to have at least one, simply for the comedic value of showing the charlatan Radleys what true spirits can do. Then I realize that the ghosts ought to mean something. Initially I was going to have only one spirit, who would be the ghost of Mira Blackwood’s deceased brother, angry that his sister is leaving.

In this current build, there are quite a few more. Ghosts, in the town of Tawny Mill, exist in a sort of chicken and egg relationship with the living residents. Though some of the ghosts are older than the residents that they haunt, they only seem to appear as a manifestation of those citizens’ troubles. Because our own inner turmoil eventually becomes a familiar friend, the citizens of Tawny Mill don’t really notice that they are being literally haunted as well as metaphorically, but the Radleys are a fresh perspective. The more that Becca and Casper prod into people’s issues, the more ghosts appear. Therefore in constructing false ghost stories with which to “haunt” the mansion, Becca and Casper inadvertently create real hauntings. Unfortunately as the people in town are all “used” to these ghosts they don’t seem to notice, and so they act more as a hindrance to the player as they have the potential to catch and kill Casper during his nightly rounds.

The idea for this game came to me in a bit of a convoluted manner. In high school I wrote a short screenplay about a ghost who had to balance the thin line between convincing people her house was haunted to keep them away and being surreptitious enough not to be exorcised by a priest. This later evolved into a ghost hunter who died in a house, and was “fabricating” a demonic infestation in order to sell tickets to her friends’ haunted house. Eventually I learned that homeowners who wish to leave a haunted house must disclose that status to all potential buyers, and the idea evolved into this. Initially I had Casper as a real ghost, but eventually made him alive because the role ghosts played in the story transformed for me.

The radical aspects of the game tie into the way the twins interact with the world. What Casper and Becca are attempting to do is morally questionable, and a bit off the wall, but they are still complex individuals, as are the inhabitants of the town. The townies, however, exist in a heightened reality, where demonic cults and disgraced exorcists are considered normal inhabitants. Because the people they are attempting to fool seem so ridiculous, it can be easy for both the twins and the players to forget that any injury to the characters are injuries to “people”, but I aim to give the characters hidden emotional depth which, when uncovered, makes players question their previous impressions of the NPCs.   My paper prototype was for the most part a successful one. I presented three levels: the bank itself, the front entrance to the museum, and the back room of the museum which acts as a sort of shrine to the bank robbery. It became clear that I need to more eloquently elaborate the conflicts of the NPCs to give the player something more to work with on a larger scale and give them an idea of what they’re meant to be doing sooner.   The three encounters on level one are:
  1. Interact with bank worker Clint, who appears worried but brightens as soon as he sees Casper to tell him a bit about the bank.
  2. Get coffee, which can later be given to Tessa to improve her mood toward the player.
  3. Second encounter with Clint, where upon further prodding he reveals that he was worried because his boss scheduled him to work all this week, thereby depriving him of time to shop for an anniversary present for his husband in time for their date on Friday. In my mind, after this conversation a few set items would move slightly.
These encounters highlight a few mechanics which take place over the course of the game. The first is the introduction of a fairly straightforward NPC who seems like he is just there to give Casper information. The second showcases the gifting system, and how holding onto objects for later can result in new avenues of investigation. The third shows how, if the player chooses, they can create a greater haunting.

This third interaction also showcases the help-hinder loop. Interacting with Clint more causes Casper to learn more about the heist, but also exacerbates his emotional issues. Eventually, the “ghosts” that are haunting Clint will appear and start causing Casper trouble in his work. Therefore Casper needs to learn more about Clint as a person in order to help him overcome his troubles – which requires speaking with other NPCs, unlocking more information about the mansion and also more ghosts to haunt Casper.


Clint Crandall – The only employee of the local bank.

Currently my game build is progressing smoothly. I have art for all three of the levels, as well as sprite sheets for the conversation sprites for Casper and Clint. I still need to complete Tessa’s. the first interaction with Clint is coded, and I have figured out how to trigger conversations with the space bar – mostly. Unfortunately, the space bar coding only works if the space bar is hit AS the player collides with the NPC. Next, I need to both code for multiple conversations and edit the sorting script to allow for multiple objects having it, both of which will be made easier with tag implementation, and allowing the space bar to be pressed at any point during collision.
The bank

The front of the local bank, sans furniture.

I try to use limited color palettes in all of the levels for this game. For the mansion levels, I limited myself to dark greys, browns, reds, and greens. These all feel like very “haunted”, old colors. For this bank level I went with lighter blues out front and then dark browns in the back of the museum to emphasize both that it is a “dark” part of the past and also much older – brown reads as an old color to me due to its connection with natural materials. I picked light blue for the front as blue, being a “soothing” color is a common color for professional buildings, and it is also the signature color for many banks. Both of these palettes lack bright greens, as this is the color of the Radleys’ shirts and I wanted them to pop a bit in the scenery.

Each character on the levels has one item of clothing which ties them to the environment. For the mansion, this is a deep blood red. For the bank this is light blue. Tessa also has a green hat brim, which ties her to the painting of her great grandfather Sheriff Wycome.

For these levels, I maintained a mostly linear character design for the first two rooms, followed by a large open room with interactable objects spread throughout. The first two rooms are the public fronts: the bank directs you to the door and to Clint in a straight line so that people can go about their business quickly, and the front of the museum directs the player down a line of interaction to Tessa. In the third room, where Casper encounters history, he is confronted with a bit more open world, as the past tends to be a lot less neat than the present makes it seem.

Interactable objects and NPCs are all sharp, which makes them obvious against the smudged background of the rest of the map. I resisted going into high levels of detail in the backgrounds, as I don’t want the game to become a pixel hunt for important items. Having the background blurry showcases the situation of the people in the town: because they have lived so long and become so used to their lives, everything has sort of settled into a haze. They cannot see the ghosts, or the objects which are important to solving their crises, or that the Radleys are conning them, even if those things are right in front of them. The Radleys and the players, however, can see what is important in the world quickly because they are looking at them with fresh eyes.  

A mannequin of the famous lawman Sheriff Wycome.


A mannequin of old-timey socialite Moira Blackwood.


House H(a)unters – Post-Mortem

HHScreenshot  IMG_4995

  My game is about a pair of ghost hunting twins named Becca and Casper Radley. Their producer has informed them that they must raise the funds for their next season on their own. Becca hatches a plot to convince rich couple Nigel and Mira Blackwood that their house is haunted so that they will sell it for an affordable price. Once Becca has purchased the house, she intends to “debunk” the haunting and resell it for the full cost. For unknown reasons, the Blackwoods must move out in exactly one week, and so the twins have seven days to scare them into belief.

  This game plays in two different sections. At night, Casper places scary traps and triggers them at the correct intervals to scare the Blackwoods before he is discovered by them. During the day, Becca talks to the residents of the town, performing tasks (mini-games and puzzles) to convince them to tell her more about the history of the Blackwood Mansion.

In the portion of the game which I programmed this term, Becca speaks with the residents of the mansion in order to establish her cover as a ghost hunter. In order to investigate the house fully she must gain access to the basement, and to do so she distracts the maid Emily with a leaking pipe. She can also gain Emily’s assistance by admitting that she is running a con scheme. These actions introduce the player to the fact that they will need to solve puzzles in order to convince people to work with them, as well as the fact that the tone of their interaction will have consequences.

At the beginning of night sections, the player (as Becca) will be able to tell Casper what facts about the “ghost” she has learned during the day, and he can use these bits of information to craft a more believable haunting.

Ideally, the dialogue in the game would have basic choices and question trees, so that the player can pursue the lines of inquiry that are relevant to the approach they are taking to the haunting. In this build of the game that is not developed, so I’ve tried to distill the dialogue down to what is important for completing the level.

  The McGuffin in the game is probably the house. The house has a worth to it for the Radleys – in that it will allow them to achieve their end goal of continuing their show. Additionally, it is uncovered over the course of the game that the house is a centerpiece for several occult happenings in the town – a demon summoning, a murder, and a bank robber being killed to name a few. Not only is the mansion the pursued item, it is also in the end the cause of all the weirdness which Becca is channeling as she creates her ghost.


  Primarily, the abstraction was on the artistic front. The characters have simplified design so that they can be drawn easily. Most of the expressiveness is seen in the dialogue sprites, which also have a few poses and rely primarily on facial expression to convey opinion.

I also abstracted the backgrounds, and the relationship between characters and backgrounds. The scenery has a smudged look, all of the colors blending in to each other. All of the characters who are a part of the town also have this appearance to them to a certain degree, aside from the Radleys. This – along with the fact that the Radleys use different sections of the color palette I composed for the scene than the other characters do – showcases that they are intruding onto the small town space.

The blending also created a sense of otherworldliness. This mansion is supposed to be “haunted”, and by blurring the lines it becomes more difficult to distinguish reality in the house. By creating this atmosphere, and throwing in some strange happenings, the player begins to wonder if they are the only ghost in the mansion.

Truthfully, a lot of the design choices I made were due to the limitations of my own artistic ability. In a way, though, not being able to do detailed lineart helped me.


  The positive feedback loop is in the “belief” system of the game. Unlocking levels of belief unlocks dialogue options which can add effects to Casper’s hauntings. These would make it easier to win the game.

The negative feedback loop is also based around the belief system of the game. As the player builds up belief with The Blackwoods, they also build up belief with the priest Father Jacobson. While The Blackwoods are more talkative the more they become convinced of the haunting, Jacobson becomes more wary. As being caught results in a game over, this means that though successes become more rewarding as the game goes on mistakes are more costly as well.

Because of the loops of belief, a player can unlock different facets of the haunting at different points in the main storyline. If they focus on making Father Jacobson believe (which is required to get the most positive ending, in addition to being something which increases the difficulty of the game), but not on The Blackwoods then the game becomes more difficult but also reveals things about his story earlier on. This gives that player, who knows about his story on say day 4, a different perspective on the things he does than someone who focuses on The Blackwoods and never learns his motives.

Through these mechanics a player defines their own experiences. They can make the story more of a challenge for themselves by picking less beneficial dialogue options and creating a more hostile haunting environment, which will teach them different and perhaps enlightening things. Or, they can make the story easier, which also unlocks facets of the story.

  I drew a bit from Garden of the Forking Paths with my ideas for the order of events things could occur in. In Garden, the protagonist muses on multiple realities where the characters had developed different relationships. Because of this, I wanted to experiment with how Becca’s relationships with characters interacted her relationships with other characters. In real life, a person’s current relationships affect their development of new relationships, and so I want to play with the idea that developing her interactions with for example The Blackwoods would also affect her relationship with the other townspeople.  

Nonlinear Narrative: The Protagonist

Becca Radley Concept  

The protagonist for my game design project is Becca Radley. She is a 24 year-old professional ghost hunter with a predisposition for off-the-wall plans. When her producers demand that she and her brother/co-host Casper provide the funds for their next season themselves, Becca uses her money to purchase lottery tickets. One of them wins, but it is not enough to meet their goal. So, when Becca sees a massive old mansion for sale she hatches a plot to convince the owners the house is haunted and then convince them to sell their house for a lower price. Once it’s bought, she reasons, she can suddenly “resolve the haunting”, and sell it at a higher rate.

Becca is the “face” of the Radley ghost hunting duo, with a showmanship that made their show – Ghost Quest – somewhat of a cult hit. Her ideas are not always good, or morally stable, but things have a way of resolving themselves in her favor.

The top image is an example of Becca in the artistic style I’ll be using for conversations. I wanted to draw my inspiration for conversational sprites from dating sims and hidden object games. I also wanted my over world sprites to be fairly simple, so as not to crowd the viewer with detail.

The rest of the images are over world sprites, as I assumed that it would be easier to find a face that looked aesthetically pleasing in the simpler style then develop a face in the complex style, rather than developing a face in the complex style and then trying to make it read well in the over world sprite style.

I considered what props/special physical traits I might give Becca, but after some thought I decided that a more utilitarian design would function best for her. She’s a bit out-there as a person, but I wanted the townspeople NPCs to be bizarre with her as a grounding point, so I wanted her to look a bit “ordinary”. To that end, I decided I’d make her (and her brother to a lesser extent) stand out from the rest of the characters and the background by

I started with a free-sketching style in the first image. I liked the proportions in that image, but felt like it would make keeping on-model difficult. I gave her some earrings and an eyebrow ring to showcase that she was more rebellious, and gave her white hair so she would contrast with the background. In the second image, I tried giving her a jacket. When we brought our three characters into class, a few people thought Casper was the main character due to the number of accessories he had, so I thought I might give Becca a hoodie in a different color. It ended up covering up much of the design on her shirt, however, so I removed it in the next sketch. Ghost Quest is her personal project, so I wanted her to display the shirt openly.

This created the problem of how to properly display the logo. It was difficult to make one that read properly in the sprite style. In the next attempt, I simplified the logo under the logic that I could do the more detailed logo in the conversation sprites, but I ultimately didn’t like that. In sketch #4, I added a little ghost decal to the shirt to make it more clear that ghost hunting was what she’s about. I also simplified her shoes, as I was having difficulty making the white rubber section of her sneakers read well.

In the next sketch, I decided to make the design more shape-oriented, and also to try outlining Becca with black rather than a similar color to the actual part of her body it was next to. Making her blockier ended up making drawing her easier, but I didn’t like the black lining so I abandoned that in design 6. Design 6 and 7 were both attempts to decide what those shapes were, and improve on the Ghost Quest shirt design. I also made her eyebrows black, to call attention to the fact that Becca is bleaching her hair rather than just having her hair naturally white. In design 6-8, I also played with the color of her shirt and skin to have a higher outline contrast, and tried to figure out what shape of eyes i wanted her to have. I ended up fairly happy with the shape of design 8, though when I put her in the background image her color scheme contrasted poorly with the background. So in image 9, I used photoshop’s Kuler wheel to give Becca a shirt color that fit into the scheme. Using the yellowish green in image 9, I ended up with a color that was different from any of the colors in the mansion’s scheme, but still fitting in with them.

As this was happening, I started sketching the backgrounds for the game. This ended up fueling my decision to give the rest of the characters color schemes which were either black and white or closer to the background color schemes. In this way, it will emphasize the way everyone else is a part of the town they live in, while Becca is an interloper. I’ll also be tweaking Casper’s design so that it compliments Becca’s more.

The backgrounds ended up becoming more abstract/fauvistic. Becca has a fairly solid design contrasting the background, while the backgrounds and the other characters are a bit smudged and indistinct to give them an air of mystery.

I’m fairly certain that Becca’s design is still a bit incomplete, as it feels a bit too divergent from the background design at the moment. I want to work on sketching the backgrounds and other characters a bit more, so that I can be more aware of what I’m trying to contrast.

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