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Return to Labyrinth

Return to Labyrinth is a four-volume series, written by T. Forbes and illustrated by Chris Lie, that serves as a to the 1986 Labyrinth, directed by and featuring as the Goblin King . Published by between 2006 and 2010, the series follows Toby Williams, the infant from the original film who is now a teenager, as he is drawn back into the Goblin Kingdom after Jareth secretly aids his life in the human world and declares him his heir, sparking intrigue, treachery, and challenges from rival factions vying for power. The story explores themes of destiny, identity, and succession in the magical realm of the , where Toby must navigate , face attempts, and confront his reluctance to embrace his role amid unrest caused by Jareth's decision. Co-promoted with , the expands the film's universe while introducing new characters like the ambitious Mizumi and the loyal Skub, blending elements of fantasy adventure with coming-of-age elements. Covers for the volumes were designed by Kouyu Shurei, and the series was released in digest-sized editions, with Volume 1 appearing in August 2006, Volume 2 in October 2007, Volume 3 in May 2009, and Volume 4 in August 2010.

Background

Relation to Labyrinth

Labyrinth is a 1986 fantasy film directed by , in which teenager Williams embarks on a perilous journey through a vast, ever-shifting known as the to her infant brother Toby, who has been abducted by the King . The story blends elements of and adventure, exploring themes of maturation and the blurred line between dreams and reality as Sarah confronts illusions and challenges within the Goblin City at the maze's heart. Return to Labyrinth, a four-volume original English-language manga published by Tokyopop, serves as an official direct to the film, licensed and co-developed in collaboration with . Set thirteen years after the events of the movie, it features an adult Sarah Williams and a teenage Toby, who is drawn back into the by lingering influences from . The narrative revisits iconic locations such as the itself and the Goblin City, while echoing core themes of personal growth and the interplay between fantastical realms and the real world. This canonical extension builds directly on the film's universe, with continuing to exert subtle control over Toby's life from afar, prompting his return to the magical domain. By reintroducing familiar characters like and in evolved roles, the maintains continuity with the original's whimsical yet introspective tone.

Premise and setting

Return to Labyrinth is a four-volume series published by between 2006 and 2010, functioning as a fairy-tale to Jim Henson's 1986 Labyrinth. Set thirteen years after the film's events, the narrative centers on teenage Toby Williams, Sarah's brother, who becomes re-entangled with the magical realm after Jareth the King declares him his heir, having subtly influenced the boy's life from afar through goblin intermediaries granting his every wish. The manga's setting builds upon the film's iconic fantasy universe, prominently featuring the shifting, puzzle-like and the chaotic Goblin Kingdom, including expanded depictions of the and concealed sub-realms inhabited by goblins and mythical creatures. These fantastical elements intertwine with real-world locations, such as Toby's high school life and family home in , and Sarah's everyday adult routine, creating portals like closet doorways that bridge the two realities. This integration highlights the persistent intrusion of into mundane existence. Thematically, the series delves into concepts of maturity and the transition to adulthood, examining how childhood fantasies evolve or fade amid grown-up responsibilities, including themes of parenthood through familial dynamics between , Toby, and their parents. It portrays the blurring of fantasy and reality as lingering magical influences from —whose manipulative presence echoes his role in the original film—challenge the characters' perceptions of independence and consequence in their adult lives.

Development

Conception

The licensed the property to in July 2005 to develop an , seeking to leverage the 's cult status through transmedia expansion. Writer Jake T. Forbes was selected to helm the project, pitching a that revisited core elements of the original while exploring new dimensions of its world. Development faced challenges in preserving the film's narrative fidelity and ontological ambiguity—such as the debate over whether events were a dream—while introducing innovative suited to , including the decision to age up Toby from infant to teenager to enable more mature themes and character growth. Key conceptual shifts emphasized Toby's perspective as the protagonist, highlighting subtle influences from the Goblin King in the human world, and incorporated new characters and plotlines to evoke nostalgia while posing fresh questions about the Labyrinth's lore. The project was initially announced as an original sequel. It was later planned as a three-volume series, which was expanded to four volumes during production based on the success of the first volume, receiving approval from and resulting in the first volume's publication in August 2006.

Creative team and production

Jake T. Forbes, a former senior editor at with experience on major titles such as and , served as the writer for Return to Labyrinth. His background in curating and creating fantasy narratives made him a key collaborator with executives, who approved all scripts to ensure alignment with the original film's lore. The primary illustrator for Volumes I and II was Chris Lie, whose work extended to subsequent volumes in collaboration with Caravan Studio. Lie's style drew from Japanese conventions, incorporating dramatic shading and expressive character poses, while adapting the whimsical, puppet-inspired designs from Brian Froud's original Labyrinth to evoke the film's fantastical creatures. This blend aimed to merge manga's with Henson's surreal aesthetics, referencing sources like Goblins of for visual fidelity. Production began with scripting in 2005 under the partnership between and , with Forbes initiating the project alongside Tokyopop executive Michael Polis. Artwork was completed by 2006, allowing for the first volume's release that year, while Tokyopop managed editing, formatting, and final approvals from Henson representatives. The series, originally planned as a trilogy, expanded to four volumes during production due to strong sales of the first volume.

Synopsis

Volume I

In Return to Labyrinth Volume I, the story shifts focus to Toby Williams, now a teenager over a decade after the events of the original , where his half-sister had rescued him from the King . Toby has grown up noticing that his life unfolds unusually smoothly, with desires often manifesting in unexpected ways, unbeknownst to him influenced by Jareth's subtle interventions through minions who protect and guide him from the shadows. This volume introduces Jareth's overarching plan: facing his own mortality and the need for a successor to rule the , he has groomed Toby as his heir, ensuring the boy's safety and fulfillment to prepare him for eventual return to the . The plot ignites when a goblin steals Toby's homework, luring him into the ever-shifting , which has evolved since Sarah's traversal with new perils and inhabitants reflecting fairy-tale whimsy twisted by goblin logic. Toby, abducted into this realm against his will, navigates the maze's altered paths, encountering a cast of eccentric s and creatures, including the wingless , whom he vows to aid in recovering her stolen wings in exchange for her guidance; the creature Stank; the bumbling Skub; and the enigmatic masked figure Moppet, who harbors secrets tied to the kingdom's . As they progress, Toby faces trials like battling a water demon and evading giants, and is captured by the advisor Candlewic and sentenced to execution by Mayor Spittledrum, only to be saved by . These events test his resourcefulness while revelations unfold about his upbringing—how 's has woven goblin influences into his human life, granting wishes that blend reality with subtle enchantment. The volume explores themes of nostalgia versus maturity, as Toby reflects on his childhood innocence and the "easy" life that now feels suspiciously orchestrated, contrasting his human world comforts with the chaotic, dreamlike pull of the that echoes his forgotten infant abduction. These elements highlight Toby's growth from a pampered to someone confronting destiny, without delving into resolutions. The narrative builds to a at the grand Ball, where unveils his intentions for Toby's future amid the revelry, abdicating and naming him heir, leaving the kingdom's fate—and Toby's role—hanging in precarious balance.

Volume II

In Return to Labyrinth Volume II, Toby Williams deepens his immersion in the Kingdom following Jareth's announcement that he will serve as the King's heir, sparking widespread unrest among the goblins who view the human teenager as an unfit successor. Toby begins rigorous training sequences to master the and customs of the , guided by figures such as the ambitious Panjan Spittledrum and the calculating Mizumi of the Kingdom, both of whom harbor their own designs on power; Mizumi reveals her past romantic involvement with . This period of preparation highlights Toby's growing confidence in wielding rudimentary spells, yet it also isolates him from his human friends, testing his ability to balance loyalties between his origins and his emerging role. Meanwhile, , having vanished after the announcement but continuing to influence events from afar, visits Sarah Williams in the human world, reigniting his obsession with her. Key events include and Moppet discovering a locked room resembling Sarah's from the original film, containing a that triggers Moppet's vision of her origins; they are trapped by , one of Mizumi's twin daughters, but Toby intervenes to save Moppet, leading to the revelation that she is an —a being created from aspects of Sarah's dreams—fashioned by Mizumi as part of a bargain with . The volume emphasizes themes of identity and loyalty, as Toby grapples with his dual worlds—torn between the allure of sovereignty and the pull of his human life—while the discovery of Moppet's connection to hints at broader implications. Building on the initial setup from Volume I where Toby was first drawn back to the , these developments culminate in unresolved power struggles, with Jareth's disappearance and Mizumi's covert machinations setting the stage for further betrayals in Volume III.

Volume III

Volume III of Return to Labyrinth escalates the narrative's tension through Toby's as the heir to the Goblin King, intertwining his internal struggles with external betrayals that fracture the Labyrinth's fragile power structure. As the ceremony unfolds in the opulent Crystal Ballroom, Toby undergoes a ritualistic ordeal that confirms his status as the "," granting him nominal control over the Labyrinth's shifting architecture and inhabitants. However, this empowerment is immediately undermined by Mizumi, the vengeful witch and Jareth's former lover, who invokes a longstanding bargain with the Goblin King to seize that authority for herself, revealing her long-buried ambition to overthrow him and claim the throne. Parallel to Toby's trials, the volume delves into Sarah's involvement as Jareth, seeking to regain his power, retrieves a heart fragment and lures her into a trap with illusions and manipulations, oscillating between obsessive affection and destructive intent toward her. These sequences expose Jareth's vulnerabilities, including his past inability to fully ensnare Sarah's will during their original encounter and his emotional entanglement with Mizumi, which led to the theft of Sarah's dreams and the erosion of her memories of Toby in the human world. Sarah's journey highlights her lingering regrets over her brother and forces her to confront psychological challenges testing her resolve and familial loyalty. Meanwhile, Toby begins to rebel against the grooming imposed by 's minions, rejecting the seductive promises of power in favor of protecting his sister, though his partial acceptance of his heritage emerges during the coronation's high-stakes rituals. Jareth contacts Sarah to draw her back, setting up further conflict. Betrayals ripple through the Goblin Court, amplifying the volume's rising action and high-stakes challenges. Mizumi ruthlessly reabsorbs her own , —one of her twin daughters—for nearly derailing her schemes, demonstrating the corrupting influence of unchecked power within the court's fractured alliances; she subjugates the goblin populace, sparking open among Toby's would-be subjects. Further treachery occurs when Candlewic, a key advisor, aligns with Mizumi and stabs the loyal Mayor Spittledrum, shattering the tentative coalitions Toby had begun to form. In a pivotal moment, Moppet—revealed as an of , artificially created by Mizumi at Jareth's behest to serve as a —rejects Toby's desperate plan to restore the real Sarah and flees the court, clutching an enchanted peach that echoes the original film's forgetting ; Mizumi orders Moppet's death to sever her bond with Sarah, symbolizing a profound personal sacrifice. These events culminate in Toby's imprisonment within the Labyrinth's inescapable Oubliette, a forgotten chamber that isolates him as Mizumi consolidates her rule over the Goblin Kingdom. The volume's exploration of power's corrosive effects is evident in Mizumi's transformation from scorned consort to tyrannical usurper, while familial bonds are strained yet reaffirmed through Toby and Sarah's parallel ordeals. This setup propels the story toward its finale, with goblin resistance simmering and the promise of Jareth's return hanging over the encroaching darkness.

Volume IV

Volume IV serves as the climactic conclusion to the series, resolving the central conflicts surrounding Toby Williams's reluctant ascension and the usurpation by Mizumi following his imprisonment. Toby struggles against Mizumi's rule, refusing her offer to share power and using his abilities to save his friends, including and Moulin, amid ongoing rebellion. Moppet escapes a dream-trap set by Mizumi and, with and Moulin, seeks out to aid the resistance. The narrative builds to an intense confrontation involving Toby, —who regains her memories and returns to the aided by , , and Hoggle—and , where the stakes of the and usurpation reach their peak. 's alliances with familiar creatures like Hoggle, now aligned with her cause, and help in the battle against Mizumi's forces. Toby harnesses elements of magic—such as its illusory tricks and loyalties—to counter the threats, turning the kingdom's chaotic essence into a defensive weapon. Moppet reunites with , restoring her fully and weakening Mizumi. Amid the chaos, Toby faces a pivotal decision about his future, weighing the allure of power against his ties to the human world. In a moment of agency, Toby rejects the throne, relinquishing his claim and allowing to regain his full powers and resume his role as Goblin King, defeating Mizumi and stabilizing the realm. The volume's depicts the characters' post- lives: Toby emerges more mature and self-assured in the human realm, pursuing his own path; reflects on her growth, pursuing her dreams as a while her memories of the Labyrinth remain intact; and rules once more, with the fantasy world continuing to influence their lives subtly. The concluding themes emphasize personal , the maturation from fantasy dependence to real-world , and the bittersweet pull of that persists even after . Toby's highlights through , while Sarah's involvement reinforces themes of familial evolving into mutual . These resolutions tie together the series' exploration of choice and consequence in a realm where wishes come at a cost.

Characters

Protagonists

Sarah Williams serves as a key protagonist in Return to Labyrinth, evolving from the imaginative teenager of her youth into a dedicated leading a more grounded adult life. Her core motivations revolve around safeguarding her half-brother Toby, reflecting her enduring resourcefulness and profound emotional depth as she navigates challenges with quiet determination. Across the four volumes, Sarah's arc culminates in rediscovering her creative passions through storytelling, which allows her to reconnect with her inner dreamer while maintaining her protective instincts. Toby Williams emerges as the central , offering a teenage viewpoint marked by and growth amid subtle external influences from the Goblin Kingdom. Initially portrayed as somewhat insecure and prone to self-doubt despite his affinity for theater and fantasy worlds, Toby grapples with internal conflicts that test his sense of belonging and purpose. His development spans the series as he shifts from a passive observer of his circumstances to an active decision-maker, embracing for his desires and choices with increasing decisiveness and maturity. Supporting protagonists enrich the narrative through their alliances with Sarah and Toby, including the returning Hoggle, the loyal and gruff dwarf-goblin whose steadfast friendship provides practical aid and in their endeavors. New allies from the Fair Folk, such as the resourceful and wingless fairy , join as fierce companions driven by personal quests for restoration, contributing to the protagonists' efforts with their unique skills and perspectives. The loyal Skub, Toby's personal chef, also aids him from the outset by intervening in his and guiding him within the . These characters highlight themes of camaraderie and , bolstering the main heroes' journeys without overshadowing their arcs.

Antagonists and supporting characters

Jareth the King is the central antagonist in Return to Labyrinth, depicted as a charismatic yet cruel immortal who has ruled the Kingdom for over 1,300 years. His manipulative tactics involve secretly influencing Toby Williams' life from the human world by granting him undue successes through interventions, all to groom him as heir and secure Jareth's enduring legacy over the . Jareth's backstory reveals a past romantic entanglement with Mizumi, Queen of the neighboring Kingdom, whom he toyed with emotionally before rejecting her upon developing an obsessive affection for Sarah Williams; in response, he constructed the as an impenetrable barrier to exclude Mizumi and other threats. These traits—blending seductive charm with ruthless control—drive his conflicts, as he deploys and to undermine Toby's and reclaim , treating as disposable tools in his schemes. Mizumi, the coldly ambitious Queen of Moraine, emerges as a key antagonistic force alongside her twin daughters, Moulin and , challenging Toby's claim to the throne through and territorial expansion. Once Jareth's lover, Mizumi harbors resentment from his , motivating her to infiltrate the and subjugate its goblins with her icy magical powers, aiming to seize control during Toby's coronation. Her daughters support these efforts with their own inherited abilities in and combat, loyally advancing Mizumi's agenda of domination while exploiting left by Jareth's absence. This family's conflicts heighten plot tension, as their invasions and manipulations force Toby to confront external threats to his reluctant rule. The goblins function as chaotic antagonistic minions, embodying disorderly loyalty to while resenting Toby's ascension, often sabotaging his efforts through pranks, rebellions, and obstructive antics. Led by figures like the scheming Panjan Spittledrum, who vies for the himself, the goblins' individual traits—ranging from bumbling to outright —amplify the Labyrinth's perils, serving as both and genuine obstacles in Toby's trials. Their collective role underscores the kingdom's instability, with powers limited to minor illusions and horde tactics that test the protagonist's resolve. Supporting characters include ambiguous entities within the , such as the enigmatic Moppet, whose deceptive motives and hidden loyalties add layers of intrigue and to the narrative. These figures, often neutral or self-serving, contribute to tension by allying temporarily with antagonists like Mizumi or the goblins, using cunning riddles and shape-shifting to manipulate events and challenge Toby's understanding of the realm's politics.

Release

Print editions

Return to Labyrinth was published in print by as a four-volume series, with releases spanning from 2006 to 2010. Volume 1 appeared in August 2006, featuring 208 pages with a full-color cover and black-and-white interiors. Volume 2 followed in October 2007 with 192 pages in the same format. Volume 3 was released in May 2009, also comprising 192 pages, while the final Volume 4 came out in August 2010 with 208 pages. All volumes were produced in standard digest-sized format, typical of Tokyopop's line, measuring approximately 5 x 7.5 inches. The series originated as an English-language work and had no native publisher, with physical copies primarily available as imports through Tokyopop's channels rather than a localized edition. Distribution focused on the North American market, with volumes stocked in major bookstores such as Borders and , as well as specialty comic shops. Tokyopop handled initial print runs and placements, emphasizing accessibility in retail outlets beyond direct online sales. No official reprints, collector's sets, or bundled physical editions have been issued since the original 2010 release, as of 2025, following 's operational changes in 2011. Used copies and complete sets remain available through secondary markets like online retailers and comic dealers.

Digital and international releases

In 2010, partnered with Zinio to offer downloads of select titles, including volumes of Return to Labyrinth, priced at $5.99 each. The series also became available as e-books through , a lending platform for libraries, starting August 4, 2010, in formats such as OverDrive Read and PDF. As of 2025, the e-books remain accessible via for borrowing through participating libraries, supporting and PDF formats across devices. The manga received international distribution through licensed translations. A Spanish edition, titled Regreso al Laberinto, was published by , with Volume 2 released on , , maintaining the original artwork and story while adapting the text for -speaking audiences. No region-specific cover variations or content edits were reported for this edition. , which holds the intellectual property rights to the Labyrinth franchise, licensed the manga adaptation to for global publication, facilitating these overseas releases under its official branding as Jim Henson's Return to Labyrinth. Accessibility features include library-based digital borrowing on OverDrive, where users can access the full volumes with compatible apps on mobile devices and e-readers, though no official free previews or dedicated hosting apps were launched for the series.

Reception

Commercial performance

Return to Labyrinth achieved modest commercial success within the original English-language (OEL) manga market, leveraging the enduring popularity of the 1986 Jim Henson film Labyrinth. The first volume, released in August 2006 by Tokyopop, sold 8,761 copies in 2006 according to BookScan data. It ranked #10 on Diamond Comic Distributors' Top 50 manga sales chart for August 2006 and #40 for September 2006, reflecting strong initial interest from fantasy fans. Subsequent volumes sustained visibility but with declining unit sales. The second volume sold an estimated 2,204 copies in October 2007 per Diamond Comic Distributors data. Volume 3 reached #4 on The New York Times manga bestseller list for the week of May 10–16, 2009, while Volume 4 ranked on the paperback graphic books list in August 2010 with an estimated 1,100 copies sold to comics shops per Diamond data. Overall, the series benefited from Tokyopop's collaboration with The Jim Henson Company, which promoted tie-in sales through Henson archives and conventions, contributing to steady performance in bookstores and comic shops despite OEL titles generally selling fewer units than top licensed Japanese manga. By 2010, cumulative print sales across the four volumes were in the low tens of thousands, establishing the series as a mid-tier performer in Tokyopop's lineup amid broader market challenges for OEL titles. Digital editions became available through platforms like for library lending, though no significant download metrics have been reported as of 2025. Following Tokyopop's suspension of North American manga publishing in 2011, the series went , with volumes now primarily circulating in the via resale sites, where collector demand from enthusiasts sustains availability.

Critical reviews

Return to Labyrinth received mixed critical reception upon its release, with reviewers appreciating its extension of the original film's lore while noting challenges in artistic execution and narrative pacing. IGN's A.E. Sparrow awarded the first volume an 8 out of 10, praising it as "mindful of the source material, but unafraid to strike out and cover some new ground," particularly for its exploration of Toby's growth into adolescence and the introduction of new elements to the Goblin Kingdom. The series was lauded for faithfully building on Jim Henson's fantasy universe, including strong character development such as Sarah's portrayal as a mature young woman supporting her brother, and the fusion of aesthetics with the film's whimsical designs. Critics highlighted inconsistencies in the artwork across volumes, with Chris Lie's illustrations described as competent yet generic, struggling to capture the original film's imaginative charm and resulting in caricatured depictions of iconic characters like the goblins. Pacing issues emerged in later arcs, where the story felt slow and setup-heavy, often halting abruptly without resolution, as noted in reviews of the initial volume. Debates arose over Jareth's portrayal, with some outlets criticizing his depiction as overly manipulative and disconnected from David Bowie's charismatic performance, portraying him instead as a flippant in disguise. Aggregate scores from manga review sites averaged around 3.5 out of 5 as of 2025, reflecting the divide between its conceptual strengths and execution flaws. Retrospective analyses post-2020 have emphasized the 's role in expanding the Henson Company's transmedia adaptations, viewing it as a pioneering that bridged film and for fantasy audiences.

Legacy

Cultural impact

Return to Labyrinth played a significant role in the Jim Henson Company's efforts to expand its fantasy franchises beyond the 1986 film, serving as an official sequel that revisited the Labyrinth world fifteen years later through the perspective of grown-up Toby. Produced in collaboration with , the series marked one of the first major manga adaptations of a Henson property, setting a precedent for similar ventures like Legends of the Dark Crystal, a prequel to the 1982 The Dark Crystal that was previewed in the first volume of Return to Labyrinth. The contributed to the 2000s trend of original English-language (OEL) fantasy works by fusing Japanese shōjo aesthetics—such as elaborate costumes and whimsical creatures—with Western storytelling, thereby influencing North American and aimed at female readers. As part of Tokyopop's Global Manga initiative, it helped popularize the adaptation of established fantasy IPs into formats, encouraging broader cultural cross-pollination between Eastern and Western styles. Return to Labyrinth has been acknowledged in Labyrinth franchise retrospectives, including coverage of the film's 30th anniversary in 2016, where it was noted as a notable extension of the story's universe amid ongoing celebrations of the original's enduring appeal. Promotional merchandise, such as official posters featuring the manga's artwork by Kouyu Shurei, supported its release and tied into broader Henson fantasy collectibles.

Fan interpretations and continuations

Fans have extensively debated the fate of Toby Williams in Return to Labyrinth, particularly his transformation from the innocent baby of the original film into a troubled teenager pulled back into the Goblin City as a potential heir, with some interpreting his ultimate rejection of the throne as a triumphant escape from Jareth's influence. These discussions often highlight Toby's portrayal as a "loser" archetype—lazy, procrastinating, and burdened by a dysfunctional family life—which fans argue undermines the hopeful resolution of the 1986 film where Sarah rescues him. Regarding Jareth's redemption, interpretations vary widely, with some viewing his manipulative guidance of Toby and flirtatious demeanor as evidence of lingering villainy, while others see his defeat and the manga's open-ended close as a subtle arc toward vulnerability and loss of control. Fan continuations have proliferated through fanfiction, particularly on (AO3), where 12 works tagged with the explore themes like the ongoing relationship between Sarah Williams and , post- explorations of the restored , and new challengers emerging after Jareth's downfall. All documented AO3 entries postdate , often extending the 's volume endings by imagining Toby's return alongside Sarah or delving into Jareth's dream-influenced interactions with the human world. Visual fan works include artwork inspired by the series' climactic scenes, such as the ballroom confrontations, and of unique characters like Moppet, the ambitious rival, featured at conventions with elaborate Victorian-inspired gowns. Additional examples encompass Jareth's redesign in emerald attire, using specialty fabrics to recreate his flamboyant style. Community events have sustained engagement, including Tokyopop panels at San Diego Comic-Con from 2007 to 2010, where creators discussed the manga's plot and goblin lore, drawing crowds interested in Henson-inspired extensions. Similar panels at New York Comic Con in 2008 highlighted the sequel's ties to the original film's cult status, fostering debates on character arcs. Online discussions on the manga's canonicity intensified amid Jim Henson Company reboots, with fans questioning its alignment with the film's whimsical tone post-Henson's 1990 death, especially as interest revived in the 2020s. These conversations peaked alongside announcements of a live-action Labyrinth sequel in 2025, directed by Robert Eggers, prompting renewed scrutiny of Return to Labyrinth as a non-cinematic bridge. Mainstream coverage has often underemphasized these fan-driven extensions, focusing instead on Henson projects, despite a surge in fan works tied to the 2020s revival of interest through merchandise and sequel hype.

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