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Das Original Persona 5 sowie die Neuaflage Persona 5 Royal zählen wohl mit zu den besten JRPGs der letzten Jahre und haben auch uns mit Begeisterung zurückgelassen. Somit ist natürlich klar, dass Spin-Offs wie die Dancing Games, Auftritte von Joker in Smash oder der Prügler Persona 4 Arena daherkommen, um den Fans mehr von ihren Lieblingscharakteren bieten zu können. Omega Force, den meisten bekannt durch deren Warriors-Games wie Dynasty- oder Samurai Warriors, durch einige Lizenzumsetzungen im One Piece Universum oder zuletzt Hyrule Warriors, versuchen sich jetzt ebenfalls im Persona-Universum und präsentieren uns nach langer Wartezeit auf eine westliche Umsetzung endlich Persona 5 Strikers. Ob dies nur ein müder Warriors-Klon bleibt oder ob Persona 5 Strikers es darüber hinaus schafft, ein einzigartiges RPG zu sein, erfahrt ihr in unserem Test.
Zunächst eine kurze Info für alle, die Persona 5 Royal gespielt haben: Da das Spiel schon länger in Entwicklung ist, wurde als Vorlage für Strikers das Hauptende von Persona 5 genommen, ohne die neuen Charaktere und Wendungen aus Royal wie beispielsweise Kasumi einzubeziehen.
Eine Rundreise durch ganz Japan
Das Spiel beginnt einige Monate nach dem Ende von Persona 5 und der Protagonist kommt in den Sommerferien zu Besuch nach Tokyo, um mit seiner alten Bande zu entspannen und den Tag im altbekannten Café Leblanc zu verbringen. Doch dabei bleibt es natürlich nicht und bereits nach kurzer Zeit geht es erneut ins Metaverse, der Kampf gegen die Shadows entfacht. Ihr begegnet hier auch relativ schnell Neuzugang Sophia, einer KI, die selbst nicht genau weiß woher sie kommt oder warum sie ebenfalls eine Persona besitzt, euch aber im Kampf direkt zur Seite steht. Paläste gibt es nicht mehr, ihr müsst euch stattdessen durch Gefängnisse kämpfen, die allerdings ähnlich funktionieren und euch neben kleineren Rätseln allerhand Kämpfe und Story-Informationen bieten werden.
Besonders problematisch wird es für die Thieves dann, als auch außerhalb Tokyos weitere Gefängnisse im Metaverse auftauchen und zunehmend die Menschen der jeweiligen Städte zu beeinflussen scheinen. Grund genug also für die Truppe, sich den alten Van von Leblanc-Chef Sojiro zu schnappen und eine Reise quer durch ganz Japan in Angriff zu nehmen. Allerdings sind sie dabei nicht alleine, denn die hiesige Polizei hat die Truppe bereits seit längerem im Auge und ist der Annahme, dass sie für die neu aufkommenden Probleme verantwortlich seien. Folglich wird Inspektor Zenkichi Hasegawa, ebenfalls ein neuer Charakter und mein persönliches Highlight, auf euch angesetzt und verfolgt euch fortan. Somit mangelt es Strikers nicht an Schauplätzen und neuen Eindrücken, denn jede Stadt ist frei begehbar und hat neben allerhand Einkaufsmöglichkeiten auch immer neue Probleme, derer ihr euch annehmen müsst. Besonders Yakuza-Fans werden sich dabei übrigens über das Dotonbori-Viertel in Osaka freuen, welches dort als Sotenbori bereits häufiger in Erscheinung trat.
Die Geschichte ist insgesamt nicht ganz auf dem Level eines Persona 5, führt die Story aber derart charmant und treu dem Original weiter, dass das tatsächlich nicht weiter schlimm ist. Die neuen Nebencharaktere, auch wenn es insgesamt nicht viele sind, fügen sich hervorragend ein und die neuen Wendungen in der Geschichte bauen toll auf vergangenen Ereignissen auf, bringen dabei dennoch genügend Neues und bleiben spannend.
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Das Gameplay unterscheidet sich recht stark von den traditionellen Persona-Spielen. Während jeder Abschnitt der Geschichte euch zwischendruch Zeit zur Erkundung gibt, sind der Aufbau von eurer Persönlichkeit, die Confidants, also Social Links, und die Teilnahme an anderen Aktivitäten, die in Persona 3-5 vorherrschten, komplett verschwunden. Also kein bei jeder Aktion voranschreitender Kalender mehr, wo jede Tätigkeit sinnvoll ausgewählt sein sollte. Ihr habt stattdessen einen generellen “Bond”-Balken, welcher sich durch Gespräche, Aktivitäten oder gemeinsame Kämpfe füllt. Außerhalb der Story-Sequenzen und gelegentlicher Nebenquests erhaltet ihr durch das Erkunden von Städten Zugang zu Geschäften (von denen viele einzigartige Gegenstände verkaufen, die in anderen Städten nicht zu finden sind) und Restaurants, in denen ihr beispielsweise Rezepte zum Nachkochen kaufen könnt. Das Fusions-System kehrt ebenfalls zurück, wobei Joker immer noch in der Lage ist, seine Persona während des Kampfes zu wechseln.
Die größten Änderungen finden sich jedoch im Kampfsystem, das nun komplett in Echtzeit und actionbasiert ist. Wenn ihr in einem Gefängnis beispielsweise auf einen Feind trefft, erscheint nahtlos eine Reihe an Gegnern auf dem Spielfeld, und ein Kampf beginnt. Ihr habt die Möglichkeit mit leichten und schweren Angriffen zu kämpfen, könnt springen und ausweichen. Alle vier Mitglieder eurer Gruppe sind während der Kämpfe anwesend, und obwohl ihr immer nur die direkte Kontrolle über einen Charakter habt, kann jederzeit zu einem anderen Mitglied gewechselt werden. Wenn man die L1-Taste gedrückt hält, kann der jeweilige Waffenangriff eingesetzt werden, und wenn man die R1-Taste gedrückt hält, wird die Persona des Charakters beschworen, die ein Fertigkeitenmenü öffnet und die Zeit einfriert. Darüber hinaus hat jeder Charakter eine völlig einzigartige Bewegungsliste mit einer Art Finisher und die längere Verwendung eines Charakters schaltet deren Meisterkünste frei, die noch mehr einzigartige Kampffähigkeiten und Bewegungen beinhalten. Ihr seht schon, da steckt durchaus einiges an Vielfalt drin, womit es sich schon von so manch anderem Warriors-Lizenzspiel abhebt.
Diese Fähigkeiten müsst ihr dann natürlich noch gekonnt einsetzen, denn Gegner haben, wie auch schon im Vorbild, bestimmte Schwächen, die, wenn ihr diese ausnutzt, eine der serientypischen All-Out-Attacks auslösen. Diese können ebenfalls bei Bossen eingesetzt werden, hier müsst ihr die Schwächen jedoch häufiger ausnutzen, um eine Art gegnerischen Schutzschild zu brechen. Und genau hier gibt es leider ein Manko im Gameplay. Denn genügend SP (Vorrat für Magiefähigkeiten) vorausgesetzt, könnt ihr einen Gegner komplett festsetzen, indem ihr die Schwäche immer und immer wieder ausnutzt. Da das Geschehen bei der Auswahl eurer Skills kurz eingefroren wird, kann er sich nicht wehren und ihr spammt die jeweilige Attacke bis eure All-Out-Attack bereit ist und wiederholt das ganze. Ist zwar wirklich nur möglich, wenn ihr genügend SP-Erholungs-Items im Gepäck habt und so raubt man sich selbst auch irgendwie den Spaß, dennoch aber ein übersehenes Problem im sonst wirklich klasse funktionierendem Kampfsystem.
Der Velvet Room mit den bekannten Fusionen ist ebenfalls zurück, auch wenn es dieses mal etwas anders funktioniert. Denn da ihr ja keine Confidants oder ähnliches habt, die euch sonst mit Bonus-Erfahrung nach einer Fusion unterstützen, müssen eure Personas irgendwie aufleveln können. Dies passiert natürlich normal im Kampf durch Erfahrungspunkte, ihr bekommt jetzt aber für durchgeführte Fusionen, freigelassene oder zu viel erhaltenen Personas Punkte, die ihr dann für Level oder Upgrades dieser investieren könnt. Das wird am Ende des Spiels leider etwas nervig, da ihr zur Fusion bestimmter Personas eure aktuell verfügbaren leveln oder eben die neue Punktemechanik nutzen müsst. Neue Personas bekommt ihr übrigens zufällig am Ende eines Kampfes als Maske, Überredungen feindlicher Dämonen gibt es nicht mehr.
Optisch ist Strikers absolut klasse. Neben den bekannten Schauplätzen beeindrucken die neuen Städte mit ihren Einkaufsstraßen, netten Details und stimmiger Atmosphäre jeden, der auch nur irgendetwas für Japan übrig hat. Es gibt ähnlich zu Persona 5 Royal deutlich mehr Zwischensequenzen in gerenderter In-Game Grafik, welche immer wieder ein Augenschmaus sind und für zukünftige Ableger der Reihe gerne als Standard herhalten dürfen. Musikalisch werden insgesamt viele bekannte Tracks genutzt beziehungsweise für die Kämpfe geremixed, sodass diese das schnelle und actionreiche Gameplay ansprechend untermalen. Neue Tracks gibt es für jede der neuen Städte sowie deren Gefängnisse, wovon keiner enttäuscht und in gleichbleibender Qualität zu überzeugen weiß.
Fazit
Persona 5 Strikers führt nicht nur die Story von Persona 5 wunderbar fort, sondern funktioniert auch sehr gut als eigenständiges Spiel. Es ist viel mehr als nur ein weiterer Warriors-Klon und wird zu einem Action-RPG, welches sich jeder Fan der Reihe auf jeden Fall anschauen sollte. Die Story ist nicht mit dem Niveau eines Persona 5 vergleichbar, aber die Liebe zum Detail und der spaßige Sommertrip quer durch Japan machen dieses Spiel zu einem tollen Urlaub mit liebgewonnenen Freunden – und Gefängnissen.
Persona 5 Strikers erscheint am 23. Februar 2021 für Playstation 4 und Nintendo Switch und kann hier vorbestellt werden. Natürlich habt ihr dann auch deutsche Texte zur Auswahl.
Positiv:
+ führt die Geschichte toll fort
+ viele neue Schauplätze, atmosphärisch klasse umgesetzt
+ neue Charaktere wollen wir nicht mehr missen
+ Optisch und musikalisch absolute Oberklasse
+ actionbasiertes Kampfsystem passt super zur Vorlage, ..
Negativ:
– .. kann aber leicht ausgenutzt werden
– Antagonisten schwächer als im Original
– Weggang der Tagesabläufe, Confidants, etc. anfangs sehr gewöhnungsbedürftig
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Description
Rummy Palace – Your community for the popular card game on your smartphone and tablet.
Enjoy the classic card combination fun online and with real opponents! Comparable to games such as Phase 10, Bridge, or Kalooki, Rummy requires above all brains and tactical skill. You can now experience it online, for free, and without ads in one of the largest card game communities online.
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EASY TO PLAY
- No need to register; just start playing.
- Enjoy direct play thanks to automatic player search.
- Sort cards at the touch of a button.
RUMMY, AS YOU KNOW IT
- Use original Rummy playing cards or house cards with optimized legibility.
- Choose your card deck: French, Tournament, German …
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Rummy is a card game for at least two players with a double card deck, including Jokers. You aim to get rid of your hand cards before your opponents do. To do so, you can play your cards as groups or rows and swap them for Jokers later on. The round ends once a player discards their last card onto the discard pile. Then, it is time to count the points. And here goes the next round!
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NOTE:
You can download this app for free. It is permanently completely free to play. However, you can purchase optional game enhancements such as game chips, premium membership, and special playing cards within the game.
The game requires an active internet connection.
By downloading the app, you agree to our terms and conditions and our privacy policy.
TERMS & CONDITIONS:
https://www.rummy-palace.com/terms-conditions/
PRIVACY POLICY:
https://www.rummy-palace.com/privacy-policy-apps/
CUSTOMER SERVICE:
If you ever need help, feel free to contact our friendly customer service:
support@rummy-palace.com
Rummy is mainly intended for an adult audience. According to German law, Rummy is not a gambling game. In our app, there is no real money and no real prizes to win. Practice or success in casino games without real winnings ("Social Casino Games") does not imply future success in games for real money.
Rummy Palace is a product by Spiele-Palast GmbH (Palace of Cards). Playing with family, friends, or dedicated groups is one of the favorite pastimes for many people! Our mission is to give this joy of playing a digital home at the Palace of Cards and build a lively community of players through high-quality implementations of online card games.
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Version 1.4.5
Thanks for playing in the Palace! We have been hard at work improving our game. In case of questions or problems with this version please write an email to support@rummy-palace.com, we will gladly assist you with any issue.
New in this version:
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Ratings and Reviews
4.6 out of 5
2.6K Ratings
unglaubliches Suchtpotential
Eines der besten Spiele online ....... man findet zu jeder Tages und Nachtzeit Gegner....... ein bisschen schwammig finde ich die Informationen was man mit Chips machen kann und warum und wieviel pro Spiel abgezogen werden ....... probiert es aus :)
Kann frustrierend werden
Es wurde hier schon genannt. Wenn man sich hier nicht Premium einkauft, ist es schwer. Die App von der Spielbarkeit ist gelungen. Eigentlich kann ich Romee spielen, man bekommt aber kaum gute Karten. Premiumspieler haben es hier deutlich einfacher, man wird eigentlich regelmäßig per Hand-Romee geschlagen. Habe für einen Euro Chips gekauft, genutzt hat es nix. Auch ist es dann für mich unverständlich, das viele Spieleinsätze gleich mit 30 Chips zu Buche schlagen. 5 Runden gespielt und schon sind die Chips alle. Wenn der Rest der paar Chips alle ist, werde ich die App löschen
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Das Gute zuerst: Es gibt keine Werbung und, für ein kurzes Spiel im Wartezimmer oder im öffentlichen Nahverkehr ist dieses Spiel wirklich brauchbar. Aber Vorsicht! Lieben Sie Rommé, dann lassen Sie die Finger davon. Denn mit Rommé hat dies nicht wirklich etwas zu tun. Dafür ist der Schwierigkeitsgrad zu gering, unterirdisch sogar. Wahrscheinlich muss dies auch so sein, wenn ein Spiel nicht länger als 3 Minuten dauern soll. Leider hat dies so seine Auswirkungen auf die Qualität. Gefühlt jede 2-3 Runde gibt es Rommé oder sogar Hand Rommé. Joker liegen nur etwas länger als bis zum nächsten Spieler, wenn die entsprechende Karte mindestens schon einmal liegt oder weggeworfen wurde. Das alles führt dazu, dass jeder versucht, Hand Rommé zu spielen und seine Joker zu bunkern. Somit geht jeder Spielspaß verloren. Das Spiel wird oft frustriert abgebrochen. Bevor Sie sich also für diese App entscheiden, gehen Sie raus ins reale Leben und spielen Sie Rommé mit Ihrer Familie und Ihren Freunden.
Hallo Sorbet Espresso, vielen Dank für deine Bewertung. Unser Rommé-Palast ist für Anfänger und Fortgeschrittene. Da in unseren Spielen immer echte Spieler gegeneinander antreten, schwankt natürlich die Spielerfahrung und variiert Spielweise.
Unser elektronischer Mischapparat ist mit einer Losmaschine vergleichbar. Die Karten stammen jedes mal neu aus einer großen Los-Kugel, aus der sie jedem Spieler zufällig zufliegen. Die ausgeteilten Karten unterliegen statistischen Schwankungen und derartige Effekte sind dabei ganz normal. Bei weiteren Fragen, sende uns gerne eine E-Mail an support@romme-palast.de.
The developer, Spiele-Palast GmbH, indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy.
Data Used to Track You
The following data may be used to track you across apps and websites owned by other companies:
- Purchases
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Data Linked to You
The following data may be collected and linked to your identity:
- Purchases
- Contact Info
- User Content
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- Usage Data
- Diagnostics
Data Not Linked to You
The following data may be collected but it is not linked to your identity:
Privacy practices may vary based on, for example, the features you use or your age. Learn More
Information
- Provider
- Spiele-Palast GmbH
- Size
- 64.6 MB
- Category
- Games
- Compatibility
- iPhone
- Requires iOS 12.0 or later.
- iPad
- Requires iPadOS 12.0 or later.
- iPod touch
- Requires iOS 12.0 or later.
- Languages
English, French, German, Polish, Russian, Spanish
- Age Rating
- 17+ Frequent/Intense Simulated Gambling
- Copyright
- © Spiele-Palast GmbH
- Price
- Free
- In-App Purchases
- 100 Chips0,99 €
- 550 Chips3,99 €
- 550 Chips2,99 €
- 30 Days Premium3,99 €
- 3,500 Chips22,99 €
- 7 Days Premium1,99 €
- 30 Days Premium2,99 €
- 3,500 Chips15,99 €
- Altenburg French0,99 €
- 180 Days Premium15,99 €
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Some in‑app purchases, including subscriptions, may be shareable with your family group when Family Sharing is enabled.
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Marcella was lying on her bed looking at TikTok on a Thursday evening when she began seeing video after video set to a clip of the song “Pretty Boy Swag,” by Soulja Boy. In each one, a person would look into the camera as if it were a mirror, and then, just as the song’s beat dropped, the camera would cut to a shot of the person’s doppelgänger. It worked like a punch line. A guy with packing tape over his nose became Voldemort. A girl smeared gold paint on her face, put on a yellow hoodie, and turned into an Oscar statue. Marcella propped her phone on her desk and set the TikTok timer. Her video took around twenty minutes to make, and is thirteen seconds long. She enters the frame in a white button-down, her hair dark and wavy. She adjusts her collar, checks her reflection, looks upward, and—the beat drops—she’s Anne Frank.
Marcella’s friends knew about TikTok, but almost none of them were on it. She didn’t think that anyone would see what she’d made. Pretty quickly, though, her video began getting hundreds of likes, thousands, tens of thousands. People started sharing it on Instagram. On YouTube, the Swedish vlogger PewDiePie, who has more than a hundred million subscribers, posted a video mocking the media for suggesting that TikTok had a “Nazi problem”—Vice had found various accounts promoting white-supremacist slogans—then showed Marcella’s video, laughed, and said, “Never mind, actually, this does not help the case I was trying to make.” (PewDiePie has been criticized for employing anti-Semitic imagery in his videos, though his fans insist that his work is satire.) Marcella started to get direct messages on TikTok and Instagram, some of which called her anti-Semitic. One accused her of promoting Nazism. She deleted the video.
In February, a friend texted me a YouTube rip of Marcella’s TikTok. I was alone with my phone at my desk on a week night, and when I watched the video I screamed. It was terrifyingly funny, like a well-timed electric shock. It also made me feel very old. I’d seen other TikToks, mostly on Twitter, and my primary impression was that young people were churning through images and sounds at warp speed, repurposing reality into ironic, bite-size content. Kids were clearly better than adults at whatever it was TikTok was for—“I haven’t seen one piece of content on there made by an adult that’s normal and good,” Jack Wagner, a “popular Instagram memer,” told The Atlantic last fall—though they weren’t the only ones using the platform. Arnold Schwarzenegger was on TikTok, riding a minibike and chasing a miniature pony. Drag queens were on TikTok, opera singers were on TikTok, the Washington Post was on TikTok, dogs I follow on Instagram were on TikTok. Most important, the self-made celebrities of Generation Z were on TikTok, a cohort of people in their teens and early twenties who have spent a decade filming themselves through a front-facing camera and meticulously honing their understanding of what their peers will respond to and what they will ignore.
I sent an e-mail to Marcella. (That’s her middle name.) She’s from a military family, and likes to stay up late listening to music and writing. Marcella is Jewish, and she and her brothers were homeschooled. Not long before she made her video, her family had stopped at a base to renew their military I.D.s. One of her brothers glanced at her new I.D. and joked, accurately, that she looked like Anne Frank.
In correspondence, Marcella was as earnest and thoughtful as her video had seemed flip. She understood that it could seem offensive out of context—a context that was invisible to nearly everyone who saw it—and she was sanguine about the angry messages that she’d received. TikTok, like the rest of the world, was a mixed bag, she thought, with bad ideas, and cruelty, and embarrassment, but also with so much creative potential. Its ironic sensibility was perfectly suited for people her age, and so was its industrial-strength ability to turn non-famous people into famous ones—even if only temporarily, even if only in a minor way. Marcella had accepted her brush with Internet fame as an odd thrill, and not an entirely foreign one: her generation had grown up on YouTube, she noted, watching ordinary kids become millionaires by turning on laptop cameras in their bedrooms and talking about stuff they like. The videos that I’d been seeing, chaotic and sincere and nihilistic and very short, were the natural expressions of kids who’d had smartphones since they were in middle school, or elementary school. TikTok, Marcella explained, was a simple reaction to, and an absurdist escape from, “the mass amounts of media we are exposed to every living day.”
TikTok has been downloaded more than a billion times since its launch, in 2017, and reportedly has more monthly users than Twitter or Snapchat. Like those apps, it’s free, and peppered with advertising. I downloaded TikTok in May, adding its neon-shaded music-note logo to the array of app icons on my phone. TikTok’s parent company, ByteDance, is based in China, which, in recent years, has invested heavily and made major advances in artificial intelligence. After a three-billion-dollar investment from the Japanese conglomerate SoftBank, last fall, ByteDance was valued at more than seventy-five billion dollars, the highest valuation for any startup in the world.
I opened the app, and saw a three-foot-tall woman making her microwave door squeak to the melody of “Yeah!,” by Usher, and then a dental hygienist and her patient dancing to “Baby Shark.” A teen-age girl blew up a bunch of balloons that spelled “PUSSY” to the tune of a jazz song from the beloved soundtrack of the anime series “Cowboy Bebop.” Young white people lip-synched to audio of nonwhite people in ways that ranged from innocently racist to overtly racist. A kid sprayed shaving cream into a Croc and stepped into it so that shaving cream squirted out of the holes in the Croc. In five minutes, the app had sandblasted my cognitive matter with twenty TikToks that had the legibility and logic of a narcoleptic dream.
TikTok is available in a hundred and fifty markets. Its videos are typically built around music, so language tends not to pose a significant barrier, and few of the videos have anything to do with the news, so they don’t easily become dated. The company is reportedly focussing its growth efforts on the U.S., Japan, and India, which is its biggest market—smartphone use in the country has swelled, and TikTok now has two hundred million users there. ByteDance often hacks its way into a market, aggressively courting influencers on other social-media networks and spending huge amounts on advertising, much of which runs on competing platforms. Connie Chan, a general partner at Andreessen Horowitz, told me that investors normally look for “organic growth” in social apps; ByteDance has been innovative, she said, in its ability and willingness to spend its way to big numbers. One former TikTok employee I spoke to was troubled by the company’s methods: “On Instagram, they’d run ads with clickbaity images—an open, gashed wound, or an overtly sexy image of a young teen girl—and it wouldn’t matter if Instagram users flagged the images as long as the ad got a lot of engagement first.”
In April, the Indian government briefly banned new downloads of the app, citing concerns that it was exposing minors to pornography and sexual predation. (At least three people in India have died from injuries sustained while creating TikToks: posing with a pistol, hanging out on train tracks, trying to fit three people on a moving bike.) In court, ByteDance insisted that it was losing five hundred thousand dollars a day from the ban. The company announced plans to hire more local content moderators and to invest a billion dollars in India during the next three years. The ban was lifted, and the company launched a campaign: every day, three randomly selected users who promoted TikTok on other platforms with the hashtag #ReturnOfTikTok would receive the equivalent of fourteen hundred dollars.
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