Doom: The Dark Ages - id Software's latest is a defining moment for current generation technology
With each passing generation, technology enjoyers around the world breathlessly await the arrival of a new id Software game.
While the id of today is far removed from its origins, the mission remains the same - to produce beautiful, state of the art visuals at blistering frame-rates.
The studio's latest work is no exception.
Doom: The Dark Ages marks the arrival of id Tech 8 and with it, a massive slate of impressive tech arrives.
From its reliance on ray tracing to its robust physics simulation and brand new materials system, all the through to massive scale battles boasting sublime physics and animation, this is a phenomenal technical showcase and a fantastic game.
One of the things I really appreciate about modern id Software games is the studio's willingness to experiment and pivot.
While the fundamentals of Doom: The Dark Ages are largely similar - shoot, pummel and otherwise vanquish demon hoards - the way in which this is achieved varies dramatically.
Doom Eternal is a very different game compared to the 2016 reboot and this is also true of Doom: The Dark Ages, which shifts to much larger, open areas with higher enemy counts and very different mechanics.
It is this desire to change the formula that helps drive the underlying technology.
Fundamentally, id Tech 8 was designed to enable this particular game very specifically - which means it needed to support larger maps, more on-screen enemies and major changes to the way everything is lit.
When it comes to major changes from id Tech 7, the most impactful arguably stems from its shift to fully ray traced lighting, but beyond the obvious, ray tracing is used for other techniques and to improve the development experience.
Similar to Indiana Jones and the Great Circle, the headline feature is ray traced global illumination.
This allows for light sources to directly and indirectly light the surrounding space, creating beautiful, realistic and natural results.
Unlike Eternal, The Dark Ages features a lot of soft lighting from the often dark skies above rather than high intensity electric lights everywhere.
With the generous assistance of id Software, Digital Foundry is able to take you behind the scenes of the id Tech 8 engine technology.Watch on YouTube
Doom: The Dark Ages uses an irradiance cache in probe volumes.
Before ray traced lighting like this, developers would often pre-calculate these results through pre-computing or 'baking'.
This technique meant that world lighting was more static and the actual iteration and build times were much slower.
This is one of the most important shifts for the team.
Speaking with Billy Khan, Director of Engine Technology at id Software, he noted that ray tracing essentially allowed them to shift to a What You See is What You Get model or WISIWYG.
This means that when using id Studio, artists can adjust lighting directly in the editor and see the results instantly: something that would previously require baking to even preview, so it saves a lot of time, allowing the team to work at a much larger scale.
When played on the PC, players can also take advantage of ray traced specular reflections much like Doom Eternal.
The result is good but the game features a much higher concentration of very rough materials so it's less noticeable compared to Doom Eternal's shiny wonderland of pain.
In addition, ray tracing is used for impact effects and footsteps.
The idea here is that by leveraging RT, it's possible to more realistically blend the material with the decals to create something that feels bespoke for every situation.
For hit impacts, RT helps determine the most accurate positioning when rendering these decals on models.
Fully ray-marched volumetrics are also part of the mix.
From the clouds to the fog and more, the game now leans heavily on ray-marched effects to lend the game a thicker atmosphere.
This technique isn't new, but it's still rather uncommon yet produces tremendous results.
When it comes to these volumetric effects, artists can essentially paint and manipulate them in real-time.
Artists can create fast-moving clouds, variable cloud cover and shapes and generally just generate beautiful and interesting visual results.
The large open outdoor areas basically necessitated a move towards a more robust system like this and it does work well.
Doom: The Dark Ages uses an irradiance cache in probe volumes (top left) with the balance of the images showing how the RT effects look when enabled and disabled.
As with all the shots on this page, click on the images for higher resolution versions.
| Image credit: id Software
While on the subject of lighting and shadow, Doom: The Dark Ages also makes use of two other depth enhancing features - SSDO for ambient occlusion and parallax occlusion mapping.
Both of these increase surface depth and complexity.
While the RTGI solution is very effective, it still has precision limitations which necessitate the use of a screen-space solution but SSDO in this case is used both in direct and indirect situations with shadows applied in the correct direction per local light sources making it far more effective overall.
Speaking of parallax effects, this brings us to the game's extremely robust and flexible materials system.
Firstly, designers can now combine up to eight bespoke physically-based material layers on a single surface.
This allows artists to create more complex surfaces while avoiding tiling and keeping the memory footprint in check.
One of the key benefits is how damage to these surfaces reveals underlying materials - if you unload on a wall, for instance, the underlying structural material is revealed and chunky, parallax occlusion mapping helps create the impression of actual damage to the surface.
This can also be used in situations where shooting the mud blasts away at its surface causing more water to fill in, erxpanding the size of the puddles.
Basically, surfaces are inherently reactive to your actions that go beyond a traditional decal system - the combination of more advanced decals and material composition layers adds a lot to the presentation.
Physics also receive a significant upgrade - it's a complex collection of systems that work in tandem to massively improve interactivity.
My favourite addition is the inclusion of breakable objects - and these are featured all over the game, from railings that smash apart when you walk through them, buildings and structures that realistically collapse in pieces as you engage with them and scenery that reacts to your movements.
It's all here and it's very precise.
Shoot individual chunks and pieces of an object and it breaks just as you'd expect before collapsing under its own weight.
At its core, id worked closely with Havok to deliver the tooling for use in id Studio.
The team focused on perfecting a powerful rigid body collision system while minimising object inner-penetration and exhibiting realistic weight and mass.
These objects needed to properly behave amidst the chaotic combat loop while remaining performant.
It's not just about the rendering.
Doom: The Dark Ages' physics enhancements create memorable moments of destruction.
| Image credit: Digital Foundry
But there's a lot more to Doom: The Dark Ages.
Firstly, there's the weather and wind systems which are extremely robust.
The wind system controls things like vegetation animation - wind direction and speed are taken into account across foliage.
Using fluid simulation, the game also features more complex secondary motions.
For instance, if you fire an explosive weapon near a patch of grass, the explosion causes the foliage to react.
Cloth simulation is also in the game so flags, the Slayer's cloak and more are all included in the wind simulation.
The idea was to create a cohesive wind system that made the world feel alive and consistent across the board.
When coupling this with the atmospheric effects, fog volumes and weather, I'd say that id Software achieved its goal.
The very first stage takes place during a rainstorm and everything works in tandem to create something that feels unbelievably intense and beautiful.
Of course, this needed to extend across the entire environment, so id also introduced a new water surface simulation which allows proper ripples and reactions in bodies of water.
I'm a sucker for effects like this - it's nothing new but it's always wonderful to see.
The key here is that all these systems allowed the team to create environments that feel dramatically different than what has come before.
The prior two games were all about high contrast and bright lights but RT - in combination with the other technologies - allows id to pursue a more subdued, darker tone without the usual visual limitations, and it's all depicted at a much larger scale.
In Doom Eternal, Super Gore Nest was the most geometrically dense map from its original campaign but with The Dark Ages, there are maps featuring upwards of ten times more detail.
These maps are broken up into multiple sectors and a single sector can offer as much geometric detail as the entirety of Super Gore Nest.
Doom: The Dark Ages delivers the same kind of enemy hordes that the 2D-sprite based originals had - but augmented with remarkable physics, dismemberment and animation.
| Image credit: Digital Foundry
Prior to launch, I pondered if id had shifted towards a virtualised geometry system along the lines of Unreal Engine's Nanite but it turns out that's not actually the case.
Rather, the studio has simply expanded the number of LODs, improved blending between them, honed their scene-culling systems and basically focused first on pixel quality above all else.
To that end, pop-in can still be observed at times but most of the scenery appears extremely stable while running fast.
In addition, grass rendering is also offloaded entirely to the GPU and tessellated according to camera proximity.
In practice, I found that pop-in issues were mostly not noticeable outside of specific vegetation issues or the occasional distant texture.
Since we're talking about these large, complex maps, another key improvement is the addition of a proper data streaming system.
Prior id Tech games needed to store the map in memory upon loading - but now everything is broken up into a multitude of sectors which means less data is needed in RAM when loading into a mission.
As a result, the loading times stand as among the fastest I've seen this gen.
It's so fast that I almost question the inclusion of loading screens at all.
This has gameplay implications too - it means that when you die, the time to continue is ultra short making you want to keep trying which is key for high difficulty settings.
Next up, let's talk about the enemies.
There are multiple elements in play that make for some beautifully responsive animation, hit reactions and behaviour.
That starts with the individual animations: characters move with proper weight, shifting that weight as they change direction - and the way they storm the battlefield in huge numbers feels amazing.
In addition, as you kill them, the way they stumble, fall and blow away is very satisfying, highlighting excellent secondary animation.
This also highlights the new gore system.
As you fire on foes, flesh breaks away in a shower of blood, leaving exposed bone and sinew below the surface.
On top of all this, the engine is now capable of supporting many more on-screen enemies at once.
This is the first modern Doom game that manages to get close to capturing the original games in terms of sheer enemy numbers.
The shift to polygon graphics put massive limitations on this in the past but no longer.
To see this content please enable targeting cookies.
The new approach to cutscenes is worth showcasing.
Yes, id has included more story sequences in Doom.
On paper, this sounds like an ill-advised idea but in reality, I really enjoyed them.
I'll leave you to judge the narrative itself but the quality of the cutscenes represents a gigantic leap forward from prior id Software titles.
Character models, lighting, camera effects, colour grading and more are all set up beautifully.
To accomplish this, id developed a more robust cinematics editing tool allowing artists to dial in every pixel with excruciating detail.
Due to the real-time nature of RT lighting, the team could essentially light each scene as if it were a movie set.
Thankfully, as far as pacing is concerned, these scenes tend to play only at the start and end of a mission and serve as a nice breather.
So, I've concentrated on the technology but the fact is that I'm a huge fan of Doom old and new - and I've got lots to say about the new game itself.
It's an interesting one as, fundamentally, it is a very different experience compared to the last two entries.
The whole stand and fight approach means the flow of combat differs as you're ultimately less mobile - but that doesn't mean you don't have a lot of movement options.
While it's a little slow at first, once you have full access to your arsenal, the game really takes off.
In fact, there are aspects here that remind me of bullet hell shooters.
There are projectiles, of course, but also elements like shield-wielding foes that come in groups - you'll quickly learn that taking them out involves slamming your shield into theirs after unloading a few rounds and then they blow up.
It's all about comboing your attacks together to take out larger groups faster.
As before, Doom still has you identifying threats and tackling them appropriately, it's just that the way you deal with these threats has changed.
Furthermore, the glory kill system is radically changed - most attacks do not actually take control from you as they did before.
Our exploration of the id Tech 8 engine used the PC version to show the features at their highest - current - fidelity (path tracing is still to come!) but the console versions are great too, as you'll see here in Oliver Mackenzie's PS5, PS5 Pro and Xbox Series coverage.Watch on YouTube
That said, having just played through Doom Eternal again in Nightmare mode while going for 100 percent completion, I still haven't decided yet if I will enjoy The Dark Ages as much as its predecessor.
Once I finish a nightmare run, I can judge it - and for me, that's the ultimate test.
Looking back, I was critical of Doom Eternal when I previewed The Dark Ages, but returning to the game and powering through the nightmare mode, it reminded me just how good it is.
For now, I would say that Doom: The Dark Ages is at least on par in terms of quality, just different.
Honestly, while playing the game, I couldn't help but think of adjacent games in Doom's past such as Heretic from Raven or even the original Quake.
It has a dark fantasy ambience to the point that it feels like it could have been a sequel to one of those games as well.
Still, overall, having replayed several of its missions multiple times, I'm fairly certain that this is going to occupy a similar space to other id Software classics.
The moment you take over the Slayer, it's immediately clear that it feels better than nearly every other shooter on the market - the controls feel virtually flawless.
I'm very happy with Doom: The Dark Ages overall and I'm pleased to see that id Tech is still delivering.
While 60 fps has become much more common this generation, it's still amazing to see a game doing so much high-end rendering and physics while filling its gigantic stages with hordes of enemies while at the same time delivering a superb high frame-rate experience.
As you might imagine, I highly recommend it - but we still haven't shared everything we want to about this defining game: we'll be back soon with a PC performance review, an interview with the developers and a look at the path tracing upgrade as soon as that becomes available.
Source: https://www.eurogamer.net/digitalfoundry-2025-doom-the-dark-ages-id-softwares-new-tech-is-a-defining-moment-for-this-generation" style="color: #0066cc;">https://www.eurogamer.net/digitalfoundry-2025-doom-the-dark-ages-id-softwares-new-tech-is-a-defining-moment-for-this-generation
#doom #the #dark #ages #software039s #latest #defining #moment #for #current #generation #technology
Doom: The Dark Ages - id Software's latest is a defining moment for current generation technology
With each passing generation, technology enjoyers around the world breathlessly await the arrival of a new id Software game.
While the id of today is far removed from its origins, the mission remains the same - to produce beautiful, state of the art visuals at blistering frame-rates.
The studio's latest work is no exception.
Doom: The Dark Ages marks the arrival of id Tech 8 and with it, a massive slate of impressive tech arrives.
From its reliance on ray tracing to its robust physics simulation and brand new materials system, all the through to massive scale battles boasting sublime physics and animation, this is a phenomenal technical showcase and a fantastic game.
One of the things I really appreciate about modern id Software games is the studio's willingness to experiment and pivot.
While the fundamentals of Doom: The Dark Ages are largely similar - shoot, pummel and otherwise vanquish demon hoards - the way in which this is achieved varies dramatically.
Doom Eternal is a very different game compared to the 2016 reboot and this is also true of Doom: The Dark Ages, which shifts to much larger, open areas with higher enemy counts and very different mechanics.
It is this desire to change the formula that helps drive the underlying technology.
Fundamentally, id Tech 8 was designed to enable this particular game very specifically - which means it needed to support larger maps, more on-screen enemies and major changes to the way everything is lit.
When it comes to major changes from id Tech 7, the most impactful arguably stems from its shift to fully ray traced lighting, but beyond the obvious, ray tracing is used for other techniques and to improve the development experience.
Similar to Indiana Jones and the Great Circle, the headline feature is ray traced global illumination.
This allows for light sources to directly and indirectly light the surrounding space, creating beautiful, realistic and natural results.
Unlike Eternal, The Dark Ages features a lot of soft lighting from the often dark skies above rather than high intensity electric lights everywhere.
With the generous assistance of id Software, Digital Foundry is able to take you behind the scenes of the id Tech 8 engine technology.Watch on YouTube
Doom: The Dark Ages uses an irradiance cache in probe volumes.
Before ray traced lighting like this, developers would often pre-calculate these results through pre-computing or 'baking'.
This technique meant that world lighting was more static and the actual iteration and build times were much slower.
This is one of the most important shifts for the team.
Speaking with Billy Khan, Director of Engine Technology at id Software, he noted that ray tracing essentially allowed them to shift to a What You See is What You Get model or WISIWYG.
This means that when using id Studio, artists can adjust lighting directly in the editor and see the results instantly: something that would previously require baking to even preview, so it saves a lot of time, allowing the team to work at a much larger scale.
When played on the PC, players can also take advantage of ray traced specular reflections much like Doom Eternal.
The result is good but the game features a much higher concentration of very rough materials so it's less noticeable compared to Doom Eternal's shiny wonderland of pain.
In addition, ray tracing is used for impact effects and footsteps.
The idea here is that by leveraging RT, it's possible to more realistically blend the material with the decals to create something that feels bespoke for every situation.
For hit impacts, RT helps determine the most accurate positioning when rendering these decals on models.
Fully ray-marched volumetrics are also part of the mix.
From the clouds to the fog and more, the game now leans heavily on ray-marched effects to lend the game a thicker atmosphere.
This technique isn't new, but it's still rather uncommon yet produces tremendous results.
When it comes to these volumetric effects, artists can essentially paint and manipulate them in real-time.
Artists can create fast-moving clouds, variable cloud cover and shapes and generally just generate beautiful and interesting visual results.
The large open outdoor areas basically necessitated a move towards a more robust system like this and it does work well.
Doom: The Dark Ages uses an irradiance cache in probe volumes (top left) with the balance of the images showing how the RT effects look when enabled and disabled.
As with all the shots on this page, click on the images for higher resolution versions.
| Image credit: id Software
While on the subject of lighting and shadow, Doom: The Dark Ages also makes use of two other depth enhancing features - SSDO for ambient occlusion and parallax occlusion mapping.
Both of these increase surface depth and complexity.
While the RTGI solution is very effective, it still has precision limitations which necessitate the use of a screen-space solution but SSDO in this case is used both in direct and indirect situations with shadows applied in the correct direction per local light sources making it far more effective overall.
Speaking of parallax effects, this brings us to the game's extremely robust and flexible materials system.
Firstly, designers can now combine up to eight bespoke physically-based material layers on a single surface.
This allows artists to create more complex surfaces while avoiding tiling and keeping the memory footprint in check.
One of the key benefits is how damage to these surfaces reveals underlying materials - if you unload on a wall, for instance, the underlying structural material is revealed and chunky, parallax occlusion mapping helps create the impression of actual damage to the surface.
This can also be used in situations where shooting the mud blasts away at its surface causing more water to fill in, erxpanding the size of the puddles.
Basically, surfaces are inherently reactive to your actions that go beyond a traditional decal system - the combination of more advanced decals and material composition layers adds a lot to the presentation.
Physics also receive a significant upgrade - it's a complex collection of systems that work in tandem to massively improve interactivity.
My favourite addition is the inclusion of breakable objects - and these are featured all over the game, from railings that smash apart when you walk through them, buildings and structures that realistically collapse in pieces as you engage with them and scenery that reacts to your movements.
It's all here and it's very precise.
Shoot individual chunks and pieces of an object and it breaks just as you'd expect before collapsing under its own weight.
At its core, id worked closely with Havok to deliver the tooling for use in id Studio.
The team focused on perfecting a powerful rigid body collision system while minimising object inner-penetration and exhibiting realistic weight and mass.
These objects needed to properly behave amidst the chaotic combat loop while remaining performant.
It's not just about the rendering.
Doom: The Dark Ages' physics enhancements create memorable moments of destruction.
| Image credit: Digital Foundry
But there's a lot more to Doom: The Dark Ages.
Firstly, there's the weather and wind systems which are extremely robust.
The wind system controls things like vegetation animation - wind direction and speed are taken into account across foliage.
Using fluid simulation, the game also features more complex secondary motions.
For instance, if you fire an explosive weapon near a patch of grass, the explosion causes the foliage to react.
Cloth simulation is also in the game so flags, the Slayer's cloak and more are all included in the wind simulation.
The idea was to create a cohesive wind system that made the world feel alive and consistent across the board.
When coupling this with the atmospheric effects, fog volumes and weather, I'd say that id Software achieved its goal.
The very first stage takes place during a rainstorm and everything works in tandem to create something that feels unbelievably intense and beautiful.
Of course, this needed to extend across the entire environment, so id also introduced a new water surface simulation which allows proper ripples and reactions in bodies of water.
I'm a sucker for effects like this - it's nothing new but it's always wonderful to see.
The key here is that all these systems allowed the team to create environments that feel dramatically different than what has come before.
The prior two games were all about high contrast and bright lights but RT - in combination with the other technologies - allows id to pursue a more subdued, darker tone without the usual visual limitations, and it's all depicted at a much larger scale.
In Doom Eternal, Super Gore Nest was the most geometrically dense map from its original campaign but with The Dark Ages, there are maps featuring upwards of ten times more detail.
These maps are broken up into multiple sectors and a single sector can offer as much geometric detail as the entirety of Super Gore Nest.
Doom: The Dark Ages delivers the same kind of enemy hordes that the 2D-sprite based originals had - but augmented with remarkable physics, dismemberment and animation.
| Image credit: Digital Foundry
Prior to launch, I pondered if id had shifted towards a virtualised geometry system along the lines of Unreal Engine's Nanite but it turns out that's not actually the case.
Rather, the studio has simply expanded the number of LODs, improved blending between them, honed their scene-culling systems and basically focused first on pixel quality above all else.
To that end, pop-in can still be observed at times but most of the scenery appears extremely stable while running fast.
In addition, grass rendering is also offloaded entirely to the GPU and tessellated according to camera proximity.
In practice, I found that pop-in issues were mostly not noticeable outside of specific vegetation issues or the occasional distant texture.
Since we're talking about these large, complex maps, another key improvement is the addition of a proper data streaming system.
Prior id Tech games needed to store the map in memory upon loading - but now everything is broken up into a multitude of sectors which means less data is needed in RAM when loading into a mission.
As a result, the loading times stand as among the fastest I've seen this gen.
It's so fast that I almost question the inclusion of loading screens at all.
This has gameplay implications too - it means that when you die, the time to continue is ultra short making you want to keep trying which is key for high difficulty settings.
Next up, let's talk about the enemies.
There are multiple elements in play that make for some beautifully responsive animation, hit reactions and behaviour.
That starts with the individual animations: characters move with proper weight, shifting that weight as they change direction - and the way they storm the battlefield in huge numbers feels amazing.
In addition, as you kill them, the way they stumble, fall and blow away is very satisfying, highlighting excellent secondary animation.
This also highlights the new gore system.
As you fire on foes, flesh breaks away in a shower of blood, leaving exposed bone and sinew below the surface.
On top of all this, the engine is now capable of supporting many more on-screen enemies at once.
This is the first modern Doom game that manages to get close to capturing the original games in terms of sheer enemy numbers.
The shift to polygon graphics put massive limitations on this in the past but no longer.
To see this content please enable targeting cookies.
The new approach to cutscenes is worth showcasing.
Yes, id has included more story sequences in Doom.
On paper, this sounds like an ill-advised idea but in reality, I really enjoyed them.
I'll leave you to judge the narrative itself but the quality of the cutscenes represents a gigantic leap forward from prior id Software titles.
Character models, lighting, camera effects, colour grading and more are all set up beautifully.
To accomplish this, id developed a more robust cinematics editing tool allowing artists to dial in every pixel with excruciating detail.
Due to the real-time nature of RT lighting, the team could essentially light each scene as if it were a movie set.
Thankfully, as far as pacing is concerned, these scenes tend to play only at the start and end of a mission and serve as a nice breather.
So, I've concentrated on the technology but the fact is that I'm a huge fan of Doom old and new - and I've got lots to say about the new game itself.
It's an interesting one as, fundamentally, it is a very different experience compared to the last two entries.
The whole stand and fight approach means the flow of combat differs as you're ultimately less mobile - but that doesn't mean you don't have a lot of movement options.
While it's a little slow at first, once you have full access to your arsenal, the game really takes off.
In fact, there are aspects here that remind me of bullet hell shooters.
There are projectiles, of course, but also elements like shield-wielding foes that come in groups - you'll quickly learn that taking them out involves slamming your shield into theirs after unloading a few rounds and then they blow up.
It's all about comboing your attacks together to take out larger groups faster.
As before, Doom still has you identifying threats and tackling them appropriately, it's just that the way you deal with these threats has changed.
Furthermore, the glory kill system is radically changed - most attacks do not actually take control from you as they did before.
Our exploration of the id Tech 8 engine used the PC version to show the features at their highest - current - fidelity (path tracing is still to come!) but the console versions are great too, as you'll see here in Oliver Mackenzie's PS5, PS5 Pro and Xbox Series coverage.Watch on YouTube
That said, having just played through Doom Eternal again in Nightmare mode while going for 100 percent completion, I still haven't decided yet if I will enjoy The Dark Ages as much as its predecessor.
Once I finish a nightmare run, I can judge it - and for me, that's the ultimate test.
Looking back, I was critical of Doom Eternal when I previewed The Dark Ages, but returning to the game and powering through the nightmare mode, it reminded me just how good it is.
For now, I would say that Doom: The Dark Ages is at least on par in terms of quality, just different.
Honestly, while playing the game, I couldn't help but think of adjacent games in Doom's past such as Heretic from Raven or even the original Quake.
It has a dark fantasy ambience to the point that it feels like it could have been a sequel to one of those games as well.
Still, overall, having replayed several of its missions multiple times, I'm fairly certain that this is going to occupy a similar space to other id Software classics.
The moment you take over the Slayer, it's immediately clear that it feels better than nearly every other shooter on the market - the controls feel virtually flawless.
I'm very happy with Doom: The Dark Ages overall and I'm pleased to see that id Tech is still delivering.
While 60 fps has become much more common this generation, it's still amazing to see a game doing so much high-end rendering and physics while filling its gigantic stages with hordes of enemies while at the same time delivering a superb high frame-rate experience.
As you might imagine, I highly recommend it - but we still haven't shared everything we want to about this defining game: we'll be back soon with a PC performance review, an interview with the developers and a look at the path tracing upgrade as soon as that becomes available.
Source: https://www.eurogamer.net/digitalfoundry-2025-doom-the-dark-ages-id-softwares-new-tech-is-a-defining-moment-for-this-generation
#doom #the #dark #ages #software039s #latest #defining #moment #for #current #generation #technology
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