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DISCLOSURE: The following is a synopsis and reviews of this week’s comic books from multiple publishers. If you like our reviews and would like to purchase these books you can do so by visiting our partners at If you decide to buy anything through our provided links we get a small commission which helps keep our website alive and running. Thanks for your time.


In the latest issue of “Adventures of Superman: Jon Kent,” readers are once again taken on a tour of the popular alternate reality known as “Injustice.” While this exploration may feel repetitive for those already familiar with the concept, it lacks the necessary excitement to engage newcomers. Sandwiched between the pages is an action sequence that seems forced and obligatory, with superheroes engaging in a mandatory trope before resolving the conflict with reason. The entire issue relies heavily on expository dialogues, occasionally injecting brief one-liners from characters like Harley and Luthor that resemble something out of an MCU script. Despite the addition of artist Darick Robertson, the plot remains mundane and uninspiring. Although Robertson’s illustrations offer more expressiveness and diversity in facial expressions, even his talent cannot salvage the unappealing design of Injustice-Batman. Additionally, the violence depicted in this issue fails to showcase Robertson’s strengths, as evident in his work on series like “The Boys” and “Hellblazer: Rise and Fall.” As “The Road to Injustice” continues, one can only hope that the story will become more engaging upon reaching its destination next month.


Following the adventures in an alternate reality, “Batman #136” takes the opportunity to recalibrate both the book and Batman himself, and writer Zdarsky accomplishes this in an unexpected but excellent manner. The issue sets in motion the next great challenge for Batman and Gotham, delving deeper into Bruce Wayne’s character and delivering a rich, emotionally-driven story that may be easily overlooked amidst the chaotic nature of Gotham. Zdarsky’s run excels in exploring the more emotional aspects of Batman/Bruce Wayne, an area that Tom King touched upon but never fully delved into. In this issue, readers are intimately acquainted with Bruce’s anxiety and PTSD, and how these experiences will shape his response to the upcoming challenge. Furthermore, Zdarsky takes a more honest approach to Bruce and Selina’s relationship, resulting in a vastly improved story and dynamic. While the artwork may not personally appeal to everyone, it is well-executed and provides an interesting contrast to the serious tone of the issue. Overall, “Batman #136” hits a home run on multiple fronts.

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In “Dark Knights of Steel #11,” battle lines are drawn and alliances are tested as the heroes of this alternate DC universe come to comprehend the true threat they face. This issue primarily serves as a moment of respite for the diverse cast, allowing them to process and react to the numerous twists they have experienced in recent installments. Writer Taylor excels in showcasing his understanding of the DC characters, even as they find themselves in new and radically different environments.


In the grand finale of Jeremy Adams’ run on The Flash, “Celebration of Wally West,” readers are treated to an exceptional swan song. This anniversary issue brings together some of the biggest creators associated with the Scarlet Speedster, making it a must-read for both longtime fans and newcomers of Wally and the Flash Family. Anthology comics can be a mixed bag due to variations in story quality, but this issue stands out as an example of excellence across the board. Not only does it provide a satisfying conclusion to Adams’ run, but it also offers a glimpse of what’s to come in the fall with Si Spurrier and Mike Deodato’s story, which wraps up the issue. The Flash #800 is a milestone entry in the history of the Fastest Man Alive, setting the stage for intriguing developments in the future.


The latest installment of the series centered around the two Clown Princes of Crime primarily serves as a build-up to the impending conflict that will determine the true Joker. While this issue feels necessary, it also slows down the relentless rampage of the Harlequin of Hate that has been a highlight of the series. The strongest moments in the main story occur when Joker interacts with other villains or DC heroes in the absence of Batman. Following this, the issue delivers an absolutely amazing side-story, as has been the case throughout The Man Who Stopped Laughing, where Commissioner Gordon struggles to accept the Joker’s status. Although this issue may be relatively weaker compared to others in the series, it’s a testament to the high standards set by the creators.


Books like The Joker: Uncovered present a challenge when it comes to reviewing, as they primarily showcase art—and that’s not necessarily a criticism. The Joker: Uncovered utilizes the concept of someone breaking into Joker’s secret vault as a framing device to showcase numerous variant covers featuring Batman’s iconic villain. While the mechanism could have been omitted, this issue offers a visually stunning collection of comic art dedicated to the Clown Prince of Crime. The book features a wide range of styles from various artists, providing a beautiful exploration of the diverse interpretations of the Joker. Whether this type of publication is truly necessary or if it should adopt a different format is debatable, but as an art book, it offers a visually pleasing experience.


In Peacemaker Tries Hard! #2, readers are treated to a continuation of the humorous and action-packed debut of the series, featuring a Peacemaker reminiscent of John Cena. The issue builds upon the premise introduced in the first installment, where Peacemaker is blackmailed into rescuing his new dog. However, it’s the additional layers added as Peacemaker teams up with Monsieur Mallah on their mission that truly amplify the enjoyment of this Black Label miniseries. Along the way, readers are treated to an array of gags, including a collection of helmets and superhero memorabilia adorning Immortus’ cave, which will delight both DC fans and those with a penchant for well-executed crude humor. The action sequences are excellent, with the introduction of a new Peacemaker helmet and ample opportunities for Mallah to showcase his strength. The dynamic between the unlikely allies adds a delightful buddy cop element to the story, resulting in an incredibly entertaining adventure through the underbelly of DC Comics. The issue concludes with a cliffhanger that guarantees the return of interested readers for subsequent installments. Peacemaker Tries Hard! successfully captures the perfect blend of incredible action and comedic tone that fans of Peacemaker adore, with Starks and Pugh skillfully distilling these elements into the comic book medium.


Poison Ivy #13 marks a new chapter for both the title and the character of Pamela herself. The issue excels in providing a fresh starting point for readers while incorporating all the character development witnessed thus far. Pamela finds herself back in Gotham, but quickly realizes that things won’t be easy—a fact she was already aware of. From the outset, she takes on the challenges of gentrification and confronts her old adversaries head-on. While the story primarily serves as setup for “Knight Terrors” and may lose a bit of momentum due to its heavy exposition, it serves as a strong lead-in when considering the series as a whole and remains an enjoyable read. The artwork continues to impress, particularly in its portrayal of Killer Croc.


Shazam! maintains its embrace of an updated Silver Age tone in its second issue, introducing the classic yet delightfully quirky villain Psycho Pirate and expanding the cast with more talking animals. Despite clarifying the stakes and exploring the dark potential of a cold-hearted Shazam wreaking havoc, there is an undeniable sense of fun that permeates the entire issue. Characters wielding great power approach new challenges with childlike innocence, resulting in moments of rescue and the delivery of alien paperwork (with one of the year’s best page turns) that are truly delightful. When things take a turn for the worse, readers feel an abundance of sympathy for Billy, as his inherently good-natured character makes moments of ill intent stand out as anomalies. Writer Waid ingeniously presents inventive ways to make B-list villains like Psycho Pirate formidable threats, leading to exhilarating confrontations and chases, which artist Dan Mora brilliantly captures. Mora’s skill in conveying emotions and seamlessly integrating wonderfully strange concepts, such as a T-Rex in coattails, within a larger context ensures that every moment of humor and excitement resonates. Shazam! is swiftly establishing itself as the best new all-ages comic of 2023.


While Steelworks does have a few chinks in its armor, it’s still a solid start to what should be a great game for all Superman and Steel fans out there. In my opinion, it’s unfortunate that this is only going to be a mini-series, since John Henry Irons is a fundamental aspect of the Metropolis universe and I hope to see more from Steel and Steelworks in the future of DC Comics.


Bishop: War College concludes with an energetic and gratifying finale, effectively bringing the story to a close while successfully highlighting a diverse and captivating group of heroes. Writer J. Holtham makes a strong impact right from the start of the issue, and although the alternate universe is not extensively explored, it seems that the series’ events will have lasting repercussions there. While Bishop remains the focal point, it is Tempo and the new class of mutants who frequently steal the spotlight, although Bishop does experience notable character growth by the conclusion of the book. The consistent collaboration of artist Sean Damien Hill, colorist Espen Grundetjern, and inker Victor Nava throughout the entire issue adds a welcome sense of cohesion, and their portrayal of an empowered Bishop is truly fantastic. The finale is satisfying, yet there remains untapped potential within the concept. There is undoubtedly room for further exploration in the future, suggesting that this powerful team may not have seen the last of their adventures.


The clash between Cap and Cap concludes quietly rather than explosively. Following their skirmish in the previous installment, Steve and Sam surprisingly reconcile. Steve offers an apology and acknowledges his readiness to walk into Bucky’s trap without weighing the alternatives. While the narrative itself is satisfactory, the artwork leaves much to be desired. Both Peggy Carter and Black Widow appear strikingly similar, and the overall visual style lacks any discernible uniqueness.


Daredevil #12, the penultimate chapter of this thrilling saga, paves the way for a monumental finale reminiscent of The Immortal Hulk. This issue primarily focuses on wrapping up loose ends and establishing the groundwork for a final, unforeseen twist. Fans who have followed the series for a long time will particularly enjoy the cameo appearances, adding flavor to a concluding expository sequence about ancient ninja cults that worship the devil. The pacing leading up to the climactic battle has an epilogue-like quality, allowing anticipation to build steadily. However, when the inevitable confrontation finally unfolds, artist Marco Checchetto’s exceptional talent shines through once again. His action sequences have consistently stood out throughout the series, and this battle is no exception. With an impressive scope and grace that befits the magnitude of the conflict, it also incorporates several nods to Daredevil’s rich history. Matthew Wilson’s beautiful depiction of cherry blossoms amidst the chaos adds a touch of genuine melodrama to the scene. As the stage is set for one last showdown, the creative team of Zdarsky & Checchetto continue to deliver a gripping narrative, ensuring that Daredevil’s punches hit with impact until the very end.


If you’re familiar with Rob Liefeld’s work since the 1990s, then Badder Blood will feel very familiar to you. It features a team-up of Deadpool, Cable, and Wolverine, embarking on a story that lacks substantial depth but offers a series of potentially thrilling scenarios. The inclusion of Chad Bowers as the scriptwriter certainly adds value, but it doesn’t do enough to distinguish it from Liefeld’s previous works. For those seeking a nostalgic trip back to the 90s, this book captures the essence of those missing titles. However, if you’re looking for fresh and innovative storytelling, Badder Blood doesn’t venture into new or captivating territory.


Fantastic Four #8 takes its time to establish a fresh status quo for the team, with a slow start as they seek refuge at the “Fantastic Farmhouse.” However, as the mystery unfolds, the story becomes increasingly captivating, leaving readers eagerly anticipating the next installment. The latter half of the issue offers plenty to enjoy, especially in terms of the team’s interpersonal dynamics, particularly the relationships between the Storm siblings and Alicia. These moments provide a reliable source of warmth and humor, and Johnny’s comedic timing shines when he jumps into the action. Nevertheless, the front half of the comic still suffers from the series’ recurring problem thus far. The excessive focus on gardening and running errands in a small town, which oddly transforms into a small city in the background, results in lukewarm superhero storytelling that, while pleasant, is ultimately forgettable. However, the mid-issue introduction of a thrilling adventure reminiscent of Kirby’s epic clashes with monsters from Marvel’s early comic books injects a much-needed change of pace.


Marvel’s recent retro reflections have often felt like mere money grabs, with silly one-shot stories that have no impact on the broader Marvel continuity. However, Dan Abnett changes the game by introducing readers to a corner of the comic world that has always existed, while giving it a fresh twist to make it accessible for new readers. Abnett’s passion for Marvel cosmic is evident in Groot #2, where we are introduced to another Centaurian character who may or may not have a connection to Yondu’s bloodline. This series continues to deliver an outstanding cosmic experience that cannot be denied.


“Tragedy” defines Immortal X-Men #12, and writer Kieron Gillen expertly chooses Colossus as the point-of-view character. Under the influence of a mutant who distorts reality with his writing, Piotr is not in control of his words or actions, yet he remains painfully aware of everything that is happening. Reading his internal monologue, as he silently pleads for his loved ones to realize that he is being manipulated, is heart-wrenching. Gillen brilliantly incorporates Colossus’ Russian heritage to draw parallels with Russian literary tragedies, while exploring the notion that fear of terrible events can actually cause them. Lucas Werneck and David Curiel’s artwork is mostly excellent, with only minor inconsistencies in Werneck’s linework and occasional instances of overly glamorous character depictions. Although there is one debatable storytelling choice where more drama could have been achieved with less, these are minor criticisms in an otherwise expertly crafted and tension-filled read.


Just when you think Tony Stark couldn’t dig himself into a deeper hole, Gerry Duggan and Juan Frigeri hit Iron Man so hard that each subsequent issue widens the already substantial crater. It has been said before that Stark is at his best when faced with seemingly insurmountable challenges; it’s the very essence of his character. In Invincible Iron Man #7, Duggan’s script takes this concept to new heights, immersing the story in darkness, bleakness, and a complete absence of hope. The result is a profoundly sad and directionless Stark, and it’s this sense of despair that elevates the story to new levels of excellence.


Honestly, the bummer about this new Loki miniseries is that it’s only four issues. The story in this first installment is full of whimsy and surprises, but it stays true to the legendary reputation Loki has built in the Marvel universe. With standout moments, inventive yet familiar visuals, and some serious stakes, I’m stoked to see what the future issues have in store.


Just gotta mention, Red Goblin #5 is also part four of the “Carnage Reigns” crossover, and while there are some killer moments with Normie and Rascal, they often get overshadowed by all the symbiote madness. When writer Alex Paknadel gets to focus on Normie and Rascal chilling together or mixing it up with Miles, it’s straight-up fantastic. But there’s way too much real estate dedicated to Cletus and a bunch of other characters, diluting what made this series so damn compelling. Gotta give props to artist Jan Bazaldua, colorist David Muriel, and letterer Joe Caramagna for delivering non-stop tension and making Cletus a terrifying force of nature. There are moments to enjoy, but I can’t wait for Red Goblin to get back to its sweet spot.


Dan Slott and Mark Bagley’s Spider-Man totally nails that classic Spidey adventure vibe. The artwork, dialogue, and premise come together beautifully at times. But there are moments when the book’s tone and dialogue shift from classic to dated, and Spider-Man #9 has its fair share of ups and downs. Electro absolutely steals the show in every scene, and the early convos between Peter and Norman Osborne are pure joy. The core concept of an all-powerful spider-sense really clicks in the second half, with Slott finding fresh ways to explore it and bringing in Spider-Boy in a big way. The downside, though, is the drawn-out dinner sequence that eats up major pages without adding much substance to the narratives. Couple that with some awkward dialogue, and the issue becomes hit or miss. Hopefully, Spider-Man #10 can get its groove back, ’cause when it hits, it’s damn lovable.


Luke’s on a quest to dig into his lightsaber and kyber crystals, but he stumbles upon some mysterious figure as baffling as the damn crystal itself. The book spills some intriguing backstory about lightsabers and kyber crystals in general, shedding light on the lightsaber Luke rocks in Star Wars: Return of the Jedi. But as a narrative chapter in the Jedi’s journey, it reads more like a lightsaber reference book than a gripping story. We know there are some mind-blowing revelations in store for this arc’s future, but this dense chapter is heavy on telling rather than showing. What saves it from being a total frustration is how it implies its impact on the original trilogy, feeling like a necessary, albeit tangled, exposition dump.


Like Kevin Smith’s Clerks famously pointed out, the Galactic Empire probably hired contractors to build Death Star II for Star Wars: Return of the Jedi, and this storyline delves into that angle. Rilo Grenth, just another galaxy dweller, lends his skills to the Empire’s base on the Forest Moon of Endor, trying to do his job while navigating the inner workings of the Empire. Easier said than done, of course, and this adventure highlights the toll that seemingly neutral parties faced during the Galactic Civil War. While the book doesn’t drop any major bombshells or shake up the game, it’s like a ride similar to the Star Wars: Andor TV series, exposing the insidious nature and overwhelming activities of the Imperials. It’s an entertaining read that isn’t crucial to the big picture of the original trilogy, but it does showcase the Empire’s treachery and its impact on even the most unsuspecting inhabitants of the galaxy.


The gang discovers a factory pumping out megadroids, so Yoda, Anakin Skywalker, and a bunch of clone troopers gear up to take it down. But it’s not a walk in the park, no sir. This story packs more action than the previous arcs in Star Wars: Yoda, and it puts the pint-sized Jedi Master right on the frontlines alongside Anakin. It’s a thrilling ride, seeing how these two interact when left to their own devices. They let their guards down, cracking jokes even when facing deadly threats. This Yoda series keeps surprising us with each issue, capturing the iconic spirit of the little green guy while showing us fresh perspectives. It’s hands down the most consistently thrilling Star Wars comic out there right now.


After months of pointless tie-in issues, Al Ewing’s Venom finally gets back to the good stuff. This series has always dabbled in mind-bending sci-fi ideas, but this month’s issue shows that it can do that and have a blast. Artist Cafu brings a playful vibe to the visual storytelling, tapping into what we know about Venom as a comic book character but adding a symbiote twist that’s totally unique. The action and motion in the panels flow effortlessly, and you gotta give props to that, ’cause not everyone can make it look so smooth, especially in the Big Two.

X MEN 23

X-Men #23 comes in three parts. The first part is a face-off between Mother Righteous and Doctor Statis that takes the game between “the Sinister Four” to the next level, dropping revelations and witty banter courtesy of Gerry Duggan’s killer dialog. It wraps up with a coda where Cyclops learns about a major event in the Marvel universe involving an old pal that might change his perspective on certain matters. The middle act, which takes up most of the issue, is a classic X-Men vs. Sentinel brawl with a twist—it’s a giant Iron Man armor designed by Tony Stark. The fight beats aren’t the most mind-blowing compared to others we’ve seen, but Joshua Cassara’s artwork takes it up a notch. Marvel has had trouble finding the right colorist to team up with Cassara, but the collaboration with Dee Cunniffe here delivers stunning results. Cunniffe’s shadows add depth to Cassara’s lines, which perfectly suit Cassara’s beefed-up characters, who look more like wrestlers than supermodels. The visual team comes together to create some real visual drama on the page when Magik tears apart the Sentinel in her own badass way. The series still feels like it’s on hold, waiting for Fall of X to kick in, but damn, this issue stands out on its own.


The war of ideas keeps popping up in Marvel’s X-Men line as we head into the Fall of X era, and X-Men: Before the Fall — Mutant First Strike puts it front and center. Don’t let the title fool you—it’s not about some mutant geopolitical intervention. Instead, it’s Bishop putting together a speedy rescue and disaster response team after a crisis hits a small town in the U.S., orchestrated by ORCHIS to make it seem like the mutants’ doing. Most of the issue focuses on a mix of mutants, from powerhouses to lesser-known ones, working their butts off to fix the town and offer support to the survivors. The story doesn’t have much tension since the worst has already gone down at the start. But there’s something heartwarming about seeing mutants apply their trademark teamwork to something other than battling giant robots or fellow mutants, especially with the clean and vibrant artwork. The story flirts with a bit of Pollyanna-ish territory before taking a sharp turn, exposing a critique of our current media landscape. It may lack urgency, but it more than makes up for it with thoughtfulness and top-notch craftsmanship.


TMNT vs. Street Fighter is like a childhood dream come true for any kid from the early ’90s. Sadly, the first issue starts off slow and doesn’t offer many surprises. M. Bison and Baxter Stockman set up a tournament, Guile and Raph have a lackluster opening fight, and Chun-Li vs. Michelangelo plays out exactly how you’d expect, right down to the flirtation. The book captures the authentic voice of each character, and there’s at least one intriguing plot thread with Bison trying to recruit Raph, but it won’t blow your mind as either a tournament arc miniseries or a major crossover.


Just when you think Hairball’s gonna go one way, Matt Kindt’s script pulls a crazy switcheroo that hits you so hard it nearly knocks you out. This title has been all about subverting expectations, and Hairball #3 takes it to a whole new level with some supernatural vibes. It’s wild how shocking this comic can be, even when you think you’ve seen it all. The fast pace keeps you flowing between pages with mad ease.


Ain’t nothing else like Hell To Pay in the comic game right now, and as writer Charles Soul and artist Will Sliney keep expanding the world, it becomes even more mesmerizing. Issue #5 takes a major leap that not only pushes the larger story in unexpected ways but also shakes up Maia and Sebastian’s whole foundation as characters. The cause they’re fighting for comes into question, and Maia’s future choices become unpredictable, injecting a fresh burst of energy into the book. Meanwhile, Sliney, colorist Rachelle Rosenberg, and letterer Chris Crank are straight up enjoying the vast playground the series offers, with creepy demons and legendary warriors popping up left and right, always leaving a mark. The stakes and the mission have changed, making an already stellar series even freakin’ better.


I Hate This Place #9 sets up the final showdown with some mind-blowing revelations that start to piece together the messed-up nightmares haunting this lone ranch. It’s a satisfying lore drop that gives us just enough info to start connecting the puzzle without losing sight of Gabby and Trudy’s story. And there’s a sick new twist that lets us know this tale is coming to an end real soon. Amidst all the time-travel and sci-fi craziness, these two badass ladies hold it down at the heart of the story, with their unique chemistry and wicked sense of humor making I Hate This Place #9 an epic ride towards the apocalypse. When this issue wraps, it feels like a freaking prologue, with a ton of new info colliding to set the stage for a mind-blowing Issue #10. Wherever it goes and however it ends, I’m stoked to find out what goes down next month.


In Hell We Fight #1 drops you into its world through the eyes of Xander Bridgeford, a frog-smashing student from a backwoods school in ’90s America who gets dragged to Hell by a demon frog. That’s one hell of a starting point for a series about dead kids and teenagers messing around in eternal damnation. And just as Xander bites the dust, we meet the rest of his crew (probably from way later?) as they gear up to hijack an ice cream truck. The blend of the ordinary (like kids stealing candy) with the straight-up bizarre (like trapped children in Hell) opens up a whole can of possibilities. Unfortunately, In Hell We Fight #1 doesn’t fully embrace that weirdness, sticking to a plot and approach that feels way too familiar.


Junk Rabbit #3 keeps the momentum rolling this week with a cautionary tale about greed and excessive consumption. Tragedy and greed drive this chapter as different leads chase after the legendary Junk Rabbit. And when it finally shows up, all eyes turn to a newcomer who claims to hold the answers that have eluded everyone else. It’s a warning that hits hard, reminding us of the dangers of our own desires.


Nocterra #15 is a pretty interesting issue. While it’s common for comics to have parallel storylines happening in different locations or timelines, this one takes a different approach with parallel lore. We get a flashback story that delves into the characters’ past, while the present story dives deep into the world’s mythology. It’s a slick writing trick, and it hits you right from the start of the book. Artist Tony Daniel and colorist Marcelo Maiolo also knock it out of the park this issue. When Nocterra is all said and done, it’ll be a masterclass in drawing and coloring light and darkness for future creators. It’s not reinventing the wheel, but it executes its concept really effectively. The contrast between the suburban houses in the flashbacks and the strange, otherworldly settings and characters in the present is even more of a challenge for the art team than it is for Snyder. The issue wraps up with a major cliffhanger and teases a continuation in a one-shot, which might leave some readers frustrated. But considering how the previous one-shots have expanded our understanding of the characters and featured amazing guest artists, it’s unlikely to be as infuriating as it could be.


Once Upon A Time At The End of The World #6 introduces us to “Book Two” and a fresh series artist, Leila Del Duca. The timeline has shifted forward after Maceo and Mezzy’s triumph, and now we find them as young adults deeply in love, still searching for a promised oasis. Del Duca is a perfect fit for this setting. If you’ve read Shutter or Sleepless, you’ll know they excel at portraying fantastical landscapes and YA protagonists. The ongoing journey presents plenty of opportunities to showcase a post-apocalyptic Earth brimming with unnatural wonders through stunning spreads. And when it comes to the often-nude protagonists, Del Duca captures their personality and identity flawlessly, even amidst the issue’s heavy focus on their intimate moments. Though the emphasis on their amorous attitudes and developing polyamorous relationship may feel indulgent halfway through the issue, it seems like a temporary diversion to build up to the cliffhanger by the end. Whatever lies ahead for this duo and their dying Earth, you can bet it’ll be focused on romance, and readers can expect those adventures to continue unfolding in an excellent fashion, assuming there’s still a worthwhile story to tell.


Phantom Road #4 delivers exactly what you’d expect from this crew, especially with a writer like Jeff Lemire leading the charge. In true Lemir-ian style, this title answered a bunch of questions last month only to turn around and spin a whole new web of mystery here. The world is starting to take shape, but it’s also becoming hella cryptic. This particular issue teeters on the edge of being a quick read, with not much progress on the character and story fronts.

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