SCATTER TERRAIN FOR A WILD WEST GAMING BOARD
Having built a decent number of bigger, „feature“ gaming terrain for my Wild West gaming board for Malifaux, I've decided I now need a lot of smaller terrain that will add some fun to the games. Bigger terrain will create the atmosphere, while the smaller ones will provide many gaming options, such as hard and soft cover, rough terrain, woods and provide additional challenges and opportunities to any player to further enhance the gaming experience.
Idea and planning
The basic outline of each of these terrain is pretty straightforward and simple. After a couple of days planning, I've decided what terrain I'll need to have a complete and versatile board that will provide gamers with plenty of atmosphere and challenge during their games. In this article, I'll cover the following subjects: forests, outhouse, well, town entrance, fences, rough terrain, a wooden crate and a metal coal container.
I'll build four forests roughly 15 x 15 cm in size. To tie them in with the rest of the scenery I've already built, they'll be pine forests. I'll also build four pieces of rough terrain varying in size from really small ones 5 x 5 cm to a slightly larger one 10 x 15 cm. The idea behind these is that, although they hinder movement, they do not allow any cover. A nuisance on the battlefield, really.
I'll also be making four 1,5 x 10 cm fences and a 20 x 5 cm western town entrance. Fences will provide soft cover in my Malifaux games as well as impede movement a bit.
Next, I'll be building several smaller pieces of terrain: an outhouse (because what is a western town without at least one outhouse) and a wooden well. These smaller pieces would provide hard cover and provide hinderance in movement and in line of sight. To finish this issue's build, I'll be adding some containers. One will be a metal container for coal and the other will be simple wooden crate. Both will be slightly bigger than one would expect, but I've decided to go down that road because I want these to provide enough space for the models to be placed on top of them should the player wish to.
Materials and tools
Once I've had most of the design ready, I could finally make a list of tools and materials needed. For this project I will need the following materials:
- one 5x5 mm linden slat (it comes in 1 m length)
- roughly one plank of 2 mm balsa wood (they come in 10 x 100 cm planks)
- roughly half a plank of 5 mm balsa wood
- a small piece of 5cm thick HD styrofoam
- about 50x30 cm piece of 4mm thick MDF board
- superglue
- PVA glue
- gravel (at least three sizes)
- static grass / tufts
- sanding paper (1 sheet)
- plasticard (0,75 mm thick, one sheet 20x30cm)
- masking tape
- office pins
- slate
- roots and twigs
- pine/fir trees
- Siligum (one package)
- plaster
The tools needed are:
- scalpel blade
- marker pen
- modelling saw
- pin vice (or an electric mini drill)
- brushes – various sizes – for painting/washing and for drybrushing
- pliers and pincers
- icepick
- plastic glue, PVA glue and superglue
- black primer spray
- electric jigsaw*
- electric disc sander*
* I will be using my Proxxon disc sander and jigsaw on the MDF to make the bases. However, the bases can be cut with hand held tools such as modeller's saw and be sanded down with sanding paper. It'll only require a bit more time and strength.
Building the bases
After drawing the rough outlines of my bases on the MDF board with a marker pen, I proceeded to cut it with my jigsaw. When the rough shapes, squares, were done, I drew the exact shapes of my terrain pieces on the MDF bases and again using the jigsaw I cut them to size. Once the cutting was done, I chamfered the base edges with my disc sander. This will ensure a nice transition between the table and the base of the terrain.
After the basic shapings of my terrain were done, I now had to distribute various scenic elements on the bases. This meant getting out my stash of fir/pine trees and pieces of slate I use for my terrain. Slate is an incredible type of stone which allows you to shape it without any effort (or at least with only minimum effort). It's built from many parallel layers that can be peeled off and when the stone's thickness is reduced enough it can even be broken with hands. This is especially useful in smaller scenic pieces such as bases for the miniatures themselves. If you are careful enough, you can even drill through it so you can even pin your models to the stones and subsequently to their bases as well. Other great thing is that the mountain right next to the city I live in is made of slate so it's really handy to get by. One other thing I discovered while hiking is that the forest usually has some upturned trees. These, obviously, have their roots out and these in turn look great as dried trees on your bases and even terrain which I'll demonstrate later on in this article. But for now, we'll turn to the slate. Before you use the slate pieces on your bases/terrain, I suggest washing them down with a hose (something I suggest you do with the roots as well) and dry them in the sun. First, you'll remove the dust of the stones which will prevent the stone (or root) from fully adhering to the surface of the base, but also the paint won't peel or fall off the stones. Second, and more important, the stones and roots coming from a forest, might contain some germs and other filth, even cause mouse fever so it's really important to wash them thouroughly. After washing, leave to dry slowly on the sun. Remember to always wash your hands thouroughly after handling the unwashed slate and roots! Also, if you have handy, use protective gloves when possible. With the slate now dry, I could place them and the fir/pine trees on my bases and dry-fit them to find a suitable size and pattern. Once I was satisfied with the placement, using PVA glue, I glued the pieces of slate to the bases in appropriate places. The trees were grouped according to the bases they would eventually be placed on and marked carefully (both the trees and the bases) so there would be no confusion later on. The trees I used are NOCH trees that come in a bag of 50 and cost about 40 USD (NOCH is a German model train accessories manufacturer). I removed the trunks of the trees and glued them to the bases. This will enable easier painting of the terrain and once the painting is done, I'll simply glue the rest of the trees back in their respective trunks.
Town Entrance
Once the glue on the tree trunks and small pieces of slate was dry, I could now turn myself to building the town entrance. At first I wanted to make it from man-carved wooden beams but looking at my roots and twigs stash, I found three twigs that were perfect for the Old West look I was after. Using my pin-vice, I drilled two holes in appropriate places on the base. I used a drill bit that was roughly the size of the office pin I was about to use as a pin. However, threading the pin through the bottom of the base would mean that the pin head would stick from the bottom and make the entire terrain wobbly. To prevent that from happening, I used a larger drill bit and just made a small insertion just big enough to house the entire pin head. Using superglue I glued the two Y-shaped twigs in place and connected them with a straight twig. Then I cut several 5 mm wide balsa pieces (about 7 cm long) and made the town sign.
Fences
Same as with the town entrance, I drilled two holes per fence base to enable the pinning of the fence posts. Using 5 x 5 mm linden slat I made 8 fence posts (2 per base) which I chamfered along each edge to get a worn look. I pinned and glued the fence posts using superglue. Then I cut eight strips of 2 mm thick balsa wood (same as used on the town sign) roughly 12 cm in length and had their edges chamfered with the scalpel blade. Again, using superglue I glued them in place, two per fence. Intentionally, I didn't glue them perfectly aligned to acchieve that worn look.
Outhouse
Next up was the outhouse. Using 2 mm thick balsa wood, I cut the four walls and a roof in desired sizes (written on the sketch during the design phase). I glued the wall pieces on the appropriate base with superglue. NOTE: All the wooden bits could be glued with PVA glue, but the PVA glue sets a lot longer so I opted for this quicker method. Once the structure was in place, I decided to add individual planks to the outer walls. This would make the worn effect even more highlighted. I cut individual planks at about 3 – 4 mm wide. When the walls were done, I spreyed the black primer inside – because the door would be slightly ajar and the inside would be visible if not painted. When the primer was dry, I glued the roof in place and made a small hole on the door.
Well
I've decided not to make the well out of individual planks like the outhouse, but rather to use engraved balsa wood to mimic the wooden walls of the well. The vertical beams were once again made from linden slats to provide the whole well some structural integrity. The roof was once again made from 2 mm thick balsa wood.
Crate
Just like the well, I used engraved balsa wood to make the sides of the crate. I glued the sides using superglue. The frame of the crate was done with balsa cut to size and I even added rivets using office pins. Since my crate was big enough to fit entire office pins, I didn't cut them. If you build smaller crates, then before sticking the pins, you should cut them to size first.
Making multiple crates
Once the crate was done, I decided to make a mould out of it. To make moulds I usually use Siligum. Siligum is a two component mix that once combined sets in 10 minutes and forms a rubbery supstance great for making molds. It comes in 100 g and 300 g packages. It is similar to green stuff in how it's gnawed to make the end product. Once the mould was done, I mixed some plaster of paris and poured it in my mould. About half an hour later, I had my first cast.
Coal Container
Coal container was made from 0,75 mm thick plasticard. Plasticard at this thickness is really easy to cut, but it does lack some structural strength. It bends quite a bit. For that reason, I cut some HD styrofoam to fit inside the plasticard frame and hold it in place. To glue the plasticard I used Revell plastic cement. When the frame was dry, I used the same thickness plasticard to add the detailing to the sides. The rivets were made from blobs of PVA glue. The inside of the container was covered with PVA glue and the largest pebbles were placed inside to represent coal once painted.
Adding texture
Next step on the bases was to add texture. I covered everything with diluted PVA glue and started adding the gravel. Remember, start with the biggest granulate and end with the smallest. I used three different sizes, from small pebbles to chinchilla sand. The larger pebbles and gravel I placed strategicly around the bases to form some clutter. The two smallest granulates were freely dispersed throughout the terrain making sure I get even coverage throughout and no area is left without texture. I also used chinchilla sand to mark the road (on the town entrance piece) and the paths (on the outhouse and through the forests) just to add some diversity. When the texture was dry, I undercoated everything in black matt primer.
Painting
When the undercoat was dry, it was time to paint all the terrain. I started painting the bases first. Wanting all my terrain to fit one theme (and consequently one tabletop) it was only natural I use the same colours and colour scheme as on the earlier pieces. Therefore once again, I used Pebeo Deco color range. I used Brown (29) for the basecoat and continued drybrushing with Ocre (51). Lighter shades were done with a 50:50 mixture of Ocre (51) and White (41). The final highlight was done with Antique White (69). The road and paths were first basecoated with Brown (29) then heavily drybrushed with Ocre (51) and a 50:50 mixture of Ocre (51) and White (41). The last two highlights were Antique White (69) and pure White (41). This way, I had a visual difference between the normal groundwork and the worn out road.
The slate was painted by drybrushing a 50:50 mixture of Black (55) and Grey (54). Next layer was pure Grey (54) and the finishing highlight was pure White (41).
The buildings and structures have two different surfaces and consequently textures – roof and wooden walls. I proceeded to paint the wooden walls by drybrushing first using a 50:50 mixture of Black (55) and Grey (54). Next layer was pure Grey (54) and the finishing highlight was Ash Brown (70). I was not quite satisfied with the result, so I added another highlight of pure White (41). The roof was painted first with a mixture of Black (55) and Grey (54) and then a mixture of Grey (54) and Antique White (69) finishing with almost a pure coat of Antique White (69).
The wooden parts of the town entrance were covered using masking tape to prevent any paint from reaching it as the dried wood (from the roots) provided a good enough effect. Once the rest of the base was painted, I removed the masking tape and washed the balsa sign with a diluted mixture of black wash just to stain it a bit. When the wash was dry, I wrote Malifaux on the sign.
Metal coal containter was painted pure (old Citadel) Boltgun Metal. When the paint was dry, it was then covered generously with black wash (Nuln Oil, in this case). Once the wash was dry, I used Model Mates' Rust Effect on the metal bits and in the end I put Model Mates' Soot Black effect to mimic the coal residue on the metal parts. The coal inside was painted black with some dark grey highlights.
Vegetation
After the painting, it was time to add the vegetation to the bases. First up, I decided to re-plant my pine trees. Using superglue to fix the trees in place, I simply guided the wire on the bottom of the trees into the small hole of the plastic tree trunk. Before gluing, I made sure that the trees fit their trunks by doing a quick mock-up of the assembly.
With the trees in place, I could now add the static grass. I made a mixture using several green, brown, yellow and black shades of static grass and when I was satisfied with the end product, I glued it in random patches throughout the bases. One thing I made sure of is that I put static grass over any and all of the remaining holes where the wooden structures met their bases in order to hide the unintentional mistakes. Once the static grass was in place, I applied several shades of different tufts. Again, as in the former articles, I used tufts made by a Portuguese company called Gamer's Grass that is also available in USA.
For the forest and the rough terrain, I added some longer static grass bits as well as some pieces of wood (twigs, roots and whatnot from my forest hike). This will provide sufficient semblance of the rough terrain or forest floor without unnecessary hindrance of movement during gaming. This marked the end of the building process and I could now make my final shots of the finished terrain.
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Pigmentation principles: why powdered pigment doesn't work
- • Titanium dioxide (TiO₂) — IR around 2.7 → excellent coverage, strongest white pigment
- • Zinc oxide (ZnO) — IR around 2.0 → good coverage
- • Calcium carbonate (CaCO₃) — IR around 1.59 → poor coverage, filler
- • Calcium sulfate / gypsum (CaSO₄) — IR around 1.52 → almost transparent in a binder, filler
This means that gypsum and chalk, although white as a powder, become almost transparent in the formulation of a coating or mass. They do not compete with the pigment — they are subordinate to it. That's why a small amount of pigment easily and evenly colors a gypsum or chalk-based mass, while the same amount of pigment in a mass containing TiO₂ would be barely visible.
3. Agglomeration — the enemy of even color
Pigment powders do not exist as perfectly separate particles. Due to electrostatic attractive forces and surface tension, the particles spontaneously group into clusters called agglomerates or aggregates. Agglomeration is particularly pronounced in: fine particles (the smaller the particle, the higher the surface area to volume ratio, so the attractive forces are relatively stronger) pigments with a high specific surface area, such as carbon black high temperature or humidity conditions When pigment powder is mixed with filler or binder powder, the agglomerates do not break down—they remain as compact clusters. The visual result is an uneven color: dark spots where pigment particles have accumulated, and pale areas where they are absent. The user then concludes that "more pigment is needed"—but this is not true. The problem is not a lack of pigment, but its poor distribution.
4. Dispersion — meaning properly dispersed pigment
Dispersion is the process of breaking up agglomerates and evenly distributing individual pigment particles throughout a medium (water, oil, binder). A well-dispersed pigment means that the particles are as evenly distributed as possible — each filler or binder particle "sees" the pigment, not just the neighborhood of the agglomerate. Dispersion is achieved by mechanical and chemical means:
- • Mechanical: mixing with high shear forces (mixers, mill aggregates, ultrasound). Mixing with a spoon or spatula is not sufficient to break up agglomerates.
- • Chemical: the use of dispersants and surfactants that adsorb to the surface of the particle and prevent it from re-adhering to neighboring particles.
5. Why liquid colorant works better than powdered pigment
Liquid colorants are not just pigment dissolved in water. They are ready-made systems that contain: Pigment — already dispersed to the level of individual particles or very small clusters Dispersants and surfactants — which keep the particles separated and prevent re-agglomeration Liquid medium — which allows the pigment to be evenly distributed throughout the material being colored before that material begins to set or dry When a liquid colorant is added to the mixing water (e.g. in gypsum, concrete, mortar), the pigment is already in an ideal state of dispersion. The same amount of pigment is evenly delivered to each part of the mixture. The color effect is therefore much more intense than with dry-mixed pigment — with a significantly lower total amount of pigment. The same logic applies to paints and varnishes: pigment pastes and dispersed pigments provide better coverage and color uniformity than pigments that have not undergone the dispersion process.
6. Practical application — gypsum example
Gypsum is a good example because it illustrates all the above principles at once. Because it has a low refractive index (~1.52), it is not a true white pigment — it does not resist staining when mixed with a binder. This means that a small amount of black pigment can easily and evenly color the gypsum mass. Why then does it happen to many people that they have to add a large proportion of pigment in relation to the mass of plaster? Because they mix the pigment in powder form directly into the gypsum powder. Pigment agglomerates (especially Fe₃O₄ or carbon black) remain intact, the distribution is uneven, and the result is disappointing. The conclusion "we need more" is wrong — we need better.
Correct procedure:
Add the colorant (or pigment dispersed in water) to the mixing water Mix the water with the colorant well Only then add the gypsum and mix until a homogeneous mixture This way, the pigment is distributed throughout the entire mass before the gypsum begins to set. The result is an even, intense color with a much smaller amount of pigment than with dry mixing. For those who do not have access to professional colorants, a good alternative are liquid pigment additives available in building paint stores — usually in the form of small bottles intended for tinting wall paints. It is the same principle: the pigment is already dispersed in a liquid medium with additives that prevent agglomeration. Added to the mixing water, they give a more even result than powdered pigment with a significantly smaller amount.
Conclusion
The intensity and uniformity of color in a mass depend not only on the amount of pigment — they depend on how well the pigment is dispersed. A pigment powder mixed with a powder of another material almost always gives worse results than a pigment that has been previously dispersed in a liquid medium, in the presence of dispersants. When you encounter the problem of "the pigment does not color enough," it is worth asking yourself: is the problem not in the way it was added — and not in the amount.
" ["content_hrv"]=> string(9431) "Ovaj tekst nastao je nakon druženja srijedom na kojem se razvila rasprava o pigmentaciji gipsa. Kako nisam uspjela sve objasniti na licu mjesta, odlučila sam to složiti na papir — a principi o kojima je riječ ionako vrijede šire od samog gipsa.
1. Što je pigment — i što nije
Pigment je tvar koja daje boju tako što selektivno apsorbira određene valne duljine vidljivog svjetla i reflektira ostale. Crni pigment apsorbira gotovo sve valne duljine; crveni apsorbira plavu i zelenu, a reflektira crvenu. Važno je razlikovati pigment od punila. Punila su bijele ili neutralne tvari koje se dodaju u boje, premaze i mase kako bi povećala volumen, poboljšala teksturu ili snizila cijenu — ali same po sebi ne daju snažnu boju ni dobru pokrivnost. Tipična punila su kalcijev karbonat (kreda, CaCO₃), kalcijev sulfat (gips, CaSO₄), barijev sulfat i slični materijali. Razlika između pravog pigmenta i punila nije samo u boji — leži u fizikalnom svojstvu koje se zove indeks refrakcije.
2. Indeks refrakcije i pokrivnost
Indeks refrakcije (IR) opisuje koliko se svjetlost lomi i raspršuje kada prolazi kroz neku tvar ili nailazi na njezinu površinu. Što je veći, to čestica jače raspršuje svjetlost — i time djeluje neprozirnije, "pokrivnije". Nekoliko usporednih vrijednosti:
- • Titanijev dioksid (TiO₂) — IR oko 2,7 → izvanredna pokrivnost, najjači bijeli pigment
- • Cinkov oksid (ZnO) — IR oko 2,0 → dobra pokrivnost
- • Kalcijev karbonat (CaCO₃) — IR oko 1,59 → slaba pokrivnost, punilo
- • Kalcijev sulfat / gips (CaSO₄) — IR oko 1,52 → gotovo transparentno u vezivu, punilo
Ovo znači da gips i kreda, premda su bijeli kao prah, u formulaciji premaza ili mase postaju gotovo prozirni. Ne natječu se s pigmentom — podređuju mu se. Zato mala količina pigmenta lako i ravnomjerno oboji masu na bazi gipsa ili krede, dok bi ista količina pigmenta u masi koja sadrži TiO₂ jedva bila vidljiva.
3. Aglomeracija — neprijatelj ravnomjerne boje
Pigmenti u prahu ne postoje kao savršeno odvojene čestice. Zbog elektrostatičkih privlačnih sila i površinske napetosti, čestice se spontano grupiraju u nakupine koje se zovu aglomerati ili agregati. Aglomeracija je posebno izražena kod: sitnih čestica (što je čestica manja, veći je omjer površine i volumena, pa su privlačne sile relativno jače) pigmenata visoke specifične površine, poput carbon blacka (čađe) uvjeta visokih temperatura ili vlage Kada se prah pigmenta umiješa u prah punila ili veziva, aglomerati se ne raspadaju — ostaju kao kompaktne nakupine. Vizualni rezultat je neujednačena boja: tamne mrlje tamo gdje su se nakupile čestice pigmenta, i blijeda područja tamo gdje ih nema. Korisnik tada zaključuje da "treba više pigmenta" — ali to nije točno. Problem nije nedostatak pigmenta, nego njegova loša raspodjela.
4. Disperzija — što znači pravilno dispergiran pigment
Disperzija je proces razbijanja aglomerata i ravnomjernog raspoređivanja pojedinačnih čestica pigmenta kroz medij (vodu, ulje, vezivo). Dobro dispergiran pigment znači da su čestice što ravnomjernije raspoređene — svaka čestica punila ili veziva "vidi" pigment, a ne samo susjedstvo aglomerata. Disperzija se postiže mehaničkim i kemijskim putem:
- • Mehanički: miješanje s visokim smičnim silama (mikseri, mlinski agregati, ultrazuk). Miješanje žlicom ili lopaticom nije dovoljno za razbijanje aglomerata.
- • Kemijski: upotreba dispergirnih sredstava (dispergatora) i surfaktanata koji se adsorbiraju na površinu čestice i sprječavaju njezino ponovno lijepljenje za susjedne čestice.
5. Zašto tekući kolorant radi bolje od pigmenta u prahu
Tekući koloranti nisu samo pigment otopljen u vodi. To su gotovi sustavi koji sadrže: Pigment — već dispergiran do razine pojedinačnih čestica ili vrlo malih klastera Dispergatore i surfaktante — koji drže čestice razdvojenima i sprječavaju ponovnu aglomeraciju Tekući medij — koji omogućuje da se pigment ravnomjerno rasporedi kroz materijal koji se boji još prije nego što taj materijal počne vezati ili sušiti Kada se tekući kolorant doda u vodu za miješanje (npr. kod gipsa, betona, žbuke), pigment je već u idealnom stanju disperzije. Svakom dijelu smjese ravnomjerno se isporučuje ista količina pigmenta. Efekt boje je stoga mnogo intenzivniji nego kod suho miješanog pigmenta — uz znatno manju ukupnu količinu pigmenta. Ista logika vrijedi za boje i lakove: pigmentne paste i disperzirani pigmenti daju bolju pokrivnost i ravnomjernost boje od pigmenata koji nisu prošli proces disperzije.
6. Praktična primjena — primjer gipsa
Gips je zahvalan primjer jer ilustrira sve navedene principe odjednom. Budući da ima nizak indeks refrakcije (~1,52), nije pravi bijeli pigment — u smjesi s vezivom ne pruža otpor bojanju. To znači da mala količina crnog pigmenta može lako i ravnomjerno obojiti gipsanu masu. Zašto se onda mnogima događa da moraju dodati veliki udio pigmenta u odnosu na masu gipsa? Jer pigment miješaju u obliku praha direktno u prah gipsa. Aglomerati pigmenta (posebno Fe₃O₄ ili carbon black) ostaju netaknuti, raspodjela je neujednačena, i rezultat je razočaravajući. Zaključak "treba više" je pogrešan — treba bolje.
Ispravni postupak:
Kolorant (ili pigment dispergiran u vodi) dodati u vodu za miješanje Dobro promiješati vodu s kolorantom Tek tada dodati gips i miješati do homogene smjese Na taj način pigment bude raspoređen kroz cijelu masu još prije nego gips počne vezati. Rezultat je ravnomjerna, intenzivna boja uz višestruko manju količinu pigmenta nego pri suhom miješanju. Za one koji nemaju pristup profesionalnim kolorantima, dobra alternativa su tekući pigmentni dodaci dostupni u trgovinama građevinskih boja — najčešće u obliku malih bočica namijenjenih nijansiranju zidnih boja. Radi se o istom principu: pigment je već dispergiran u tekućem mediju s aditivima koji sprječavaju aglomeraciju. Dodani u vodu za miješanje, daju ravnomjerniji rezultat od pigmenta u prahu uz znatno manju količinu.
Zaključak
Intenzitet i ravnomjernost boje u nekoj masi ne ovise samo o količini pigmenta — ovise o tome koliko je taj pigment dobro dispergiran. Prah pigmenta miješan u prah drugog materijala gotovo uvijek daje lošije rezultate od pigmenta koji je prethodno dispergiran u tekućem mediju, uz prisustvo dispergirnih sredstava. Kada se susretnete s problemom "pigment ne boji dovoljno", vrijedi si postaviti pitanje: nije li problem u načinu na koji je dodan — a ne u količini.
" ["created"]=> string(19) "2026-05-04 12:54:47" ["modified"]=> string(19) "2026-05-04 20:10:17" } ["Member"]=> array(10) { ["id"]=> string(3) "108" ["group_id"]=> string(1) "2" ["first_name"]=> string(5) "Dunja" ["last_name"]=> string(6) "Singer" ["first_name_mask"]=> string(5) "dunja" ["last_name_mask"]=> string(6) "singer" ["username"]=> string(5) "Dunja" ["password"]=> string(40) "772414a5d6b32309f32f46e9009f1e550809c62d" ["born"]=> string(19) "2006-01-01 00:00:00" ["created"]=> NULL } } Dunja Singer, 4th May 2026 - We visited: Warhammer World – pt.3 Ivan Vedak, 4th May 2026
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