arisenmysenses
8 reviews liked by arisenmysenses
1000xResist
2024
Final Fantasy XVI
2023
I considered strongly putting together a long-form critique of this game, but the most damning statement I could possibly make about Final Fantasy XVI is that I truly don't think it's worth it. The ways in which I think this game is bad are not unique or interesting: it is bad in the same way the vast majority of these prestige Sony single-player exclusives are. Its failures are common, predictable, and depressingly endemic. It is bad because it hates women, it is bad because it treats it's subject matter with an aggressive lack of care or interest, it is bad because it's imagination is as narrow and constrained as it's level design. But more than anything else, it is bad because it only wants to be Good.
Oxymoronic a statement as it might appear, this is core to the game's failings to me. People who make games generally want to make good games, of course, but paired with that there is an intent, an interest, an idea that seeks to be communicated, that the eloquence with which it professes its aesthetic, thematic, or mechanical goals will produce the quality it seeks. Final Fantasy XVI may have such goals, but they are supplicant to its desire to be liked, and so, rather than plant a flag of its own, it stitches together one from fabric pillaged from the most immediate eikons of popularity and quality - A Song of Ice and Fire, God of War, Demon Slayer, Devil May Cry - desperately begging to be liked by cloaking itself in what many people already do, needing to be loved in the way those things are, without any of the work or vision of its influences, and without any charisma of its own. Much like the patch and DLC content for Final Fantasy XV, it's a reactionary and cloying work that contorts itself into a shape it thinks people will love, rather than finding a unique self to be.
From the aggressively self-serious tone that embraces wholeheartedly the aesthetics of Prestige Fantasy Television with all its fucks and shits and incest and Grim Darkness to let you know that This Isn't Your Daddy's Final Fantasy, without actually being anywhere near as genuinely Dark, sad, or depressing as something like XV, from combat that borrows the surface-level signifiers of Devil May Cry combat - stingers, devil bringers, enemy step - but without any actual opposition or reaction of that series' diverse and reactive enemy set and thoughtful level design, or the way there's a episode of television-worth of lectures from a character explaining troop movements and map markers that genuinely do not matter in any way in order to make you feel like you're experiencing a well thought-out and materially concerned political Serious Fantasy, Final Fantasy XVI is pure wafer-thin illusion; all the surface from it's myriad influences but none of the depth or nuance, a greatest hits album from a band with no voice to call their own, an algorithmically generated playlist of hits that tunelessly resound with nothing. It looks like Devil May Cry, but it isn't - Devil May Cry would ask more of you than dodging one attack at a time while you perform a particularly flashy MMO rotation. It looks like A Song of Ice and Fire, but it isn't - without Martin's careful historical eye and materialist concerns, the illusion that this comes even within striking distance of that flawed work shatters when you think about the setting for more than a moment.
In fairness, Final Fantasy XVI does bring more than just the surface level into its world: it also brings with it the nastiest and ugliest parts of those works into this one, replicated wholeheartedly as Aesthetic, bereft of whatever semblance of texture and critique may have once been there. Benedikta Harman might be the most disgustingly treated woman in a recent work of fiction, the seemingly uniform AAA Game misogyny of evil mothers and heroic, redeemable fathers is alive and well, 16's version of this now agonizingly tired cliche going farther even than games I've railed against for it in the past, which all culminates in a moment where three men tell the female lead to stay home while they go and fight (despite one of those men being a proven liability to himself and others when doing the same thing he is about to go and do again, while she is not), she immediately acquiesces, and dutifully remains in the proverbial kitchen. Something that thinks so little of women is self-evidently incapable of meaningfully tackling any real-world issue, something Final Fantasy XVI goes on to decisively prove, with its story of systemic evils defeated not with systemic criticism, but with Great, Powerful Men, a particularly tiresome kind of rugged bootstrap individualism that seeks to reduce real-world evils to shonen enemies for the Special Man with Special Powers to defeat on his lonesome. It's an attempt to discuss oppression and racism that would embarrass even the other shonen media it is clearly closer in spirit to than the dark fantasy political epic it wears the skin of. In a world where the power fantasy of the shonen superhero is sacrosanct over all other concerns, it leads to a conclusion as absurd and fundamentally unimaginative as shonen jump's weakest scripts: the only thing that can stop a Bad Guy with an Eikon is a Good Guy with an Eikon.
In borrowing the aesthetics of the dark fantasy - and Matsuno games - it seeks to emulate, but without the nuance, FF16 becomes a game where the perspective of the enslaved is almost completely absent (Clive's period as a slave might as well not have occurred for all it impacts his character), and the power of nobility is Good when it is wielded by Good Hands like Lord Rosfield, a slave owner who, despite owning the clearly abused character who serves as our introduction to the bearers, is eulogized completely uncritically by the script, until a final side quest has a character claim that he was planning to free the slaves all along...alongside a letter where Lord Rosfield discusses his desire to "put down the savages". I've never seen attempted slave owner apologia that didn't reveal its virulent underlying racism, and this is no exception. In fact, any time the game attempts to put on a facade of being about something other than The Shonen Hero battling other Kamen Riders for dominance, it crumbles nigh-immediately; when Final Fantasy 16 makes its overtures towards the Power of Friendship, it rings utterly false and hollow: Clive's friends are not his power. His power is his power.
The only part of the game that truly spoke to me was the widely-derided side-quests, which offer a peek into a more compelling story: the story of a man doing the work to build and maintain a community, contributing to both the material and emotional needs of a commune that attempts to exist outside the violence of society. As tedious as these sidequests are - and as agonizing as their pacing so often is - it's the only part of this game where it felt like I was engaging with an idea. But ultimately, even this is annihilated by the game's bootstrap nonsense - that being that the hideaway is funded and maintained by the wealthy and influential across the world, the direct beneficiaries and embodiments of the status quo funding what their involvement reveals to be an utterly illusionary attempt to escape it, rendering what could be an effective exploration of what building a new idea of a community practically looks like into something that could be good neighbors with Galt's Gulch.
In a series that is routinely deeply rewarding for me to consider, FF16 stands as perhaps its most shallow, underwritten, and vacuous entry in decades. All games are ultimately illusions, of course: we're all just moving data around spreadsheets, at the end of the day. But - as is the modern AAA mode de jour - 16 is the result of the careful subtraction of texture from the experience of a game, the removal of any potential frictions and frustrations, but further even than that, it is the removal of personality, of difference, it is the attempt to make make the smoothest, most likable affect possible to the widest number of people possible. And, just like with its AAA brethren, it has almost nothing to offer me. It is the affect of Devil May Cry without its texture, the affect of Game of Thrones without even its nuance, and the affect of Final Fantasy without its soul.
Final Fantasy XVI is ultimately a success. It sought out to be Good, in the way a PS5 game like this is Good, and succeeded. And in so doing, it closed off any possibility that it would ever reach me.
It doesnโt really surprise me that each positive sentiment I have seen on Final Fantasy XVI is followed by an exclamation of derision over the seriesโ recent past. Whether the point of betrayal and failure was in XV, or with XIII, or even as far back as VIII, the rhetorical move is well and truly that Final Fantasy has been Bad, and with XVI, it is good again. Unfortunately, as someone who thought Final Fantasy has Been Good, consistently, throughout essentially the entire span of it's existence, I find myself on the other side of this one.
Final Fantasy XV convinced me that I could still love video games when I thought, for a moment, that I might not. That it was still possible to make games on this scale that were idiosyncratic, personal, and deeply human, even in the awful place the video game industry is in.
Final Fantasy XVI convinced me that it isn't.
Oxymoronic a statement as it might appear, this is core to the game's failings to me. People who make games generally want to make good games, of course, but paired with that there is an intent, an interest, an idea that seeks to be communicated, that the eloquence with which it professes its aesthetic, thematic, or mechanical goals will produce the quality it seeks. Final Fantasy XVI may have such goals, but they are supplicant to its desire to be liked, and so, rather than plant a flag of its own, it stitches together one from fabric pillaged from the most immediate eikons of popularity and quality - A Song of Ice and Fire, God of War, Demon Slayer, Devil May Cry - desperately begging to be liked by cloaking itself in what many people already do, needing to be loved in the way those things are, without any of the work or vision of its influences, and without any charisma of its own. Much like the patch and DLC content for Final Fantasy XV, it's a reactionary and cloying work that contorts itself into a shape it thinks people will love, rather than finding a unique self to be.
From the aggressively self-serious tone that embraces wholeheartedly the aesthetics of Prestige Fantasy Television with all its fucks and shits and incest and Grim Darkness to let you know that This Isn't Your Daddy's Final Fantasy, without actually being anywhere near as genuinely Dark, sad, or depressing as something like XV, from combat that borrows the surface-level signifiers of Devil May Cry combat - stingers, devil bringers, enemy step - but without any actual opposition or reaction of that series' diverse and reactive enemy set and thoughtful level design, or the way there's a episode of television-worth of lectures from a character explaining troop movements and map markers that genuinely do not matter in any way in order to make you feel like you're experiencing a well thought-out and materially concerned political Serious Fantasy, Final Fantasy XVI is pure wafer-thin illusion; all the surface from it's myriad influences but none of the depth or nuance, a greatest hits album from a band with no voice to call their own, an algorithmically generated playlist of hits that tunelessly resound with nothing. It looks like Devil May Cry, but it isn't - Devil May Cry would ask more of you than dodging one attack at a time while you perform a particularly flashy MMO rotation. It looks like A Song of Ice and Fire, but it isn't - without Martin's careful historical eye and materialist concerns, the illusion that this comes even within striking distance of that flawed work shatters when you think about the setting for more than a moment.
In fairness, Final Fantasy XVI does bring more than just the surface level into its world: it also brings with it the nastiest and ugliest parts of those works into this one, replicated wholeheartedly as Aesthetic, bereft of whatever semblance of texture and critique may have once been there. Benedikta Harman might be the most disgustingly treated woman in a recent work of fiction, the seemingly uniform AAA Game misogyny of evil mothers and heroic, redeemable fathers is alive and well, 16's version of this now agonizingly tired cliche going farther even than games I've railed against for it in the past, which all culminates in a moment where three men tell the female lead to stay home while they go and fight (despite one of those men being a proven liability to himself and others when doing the same thing he is about to go and do again, while she is not), she immediately acquiesces, and dutifully remains in the proverbial kitchen. Something that thinks so little of women is self-evidently incapable of meaningfully tackling any real-world issue, something Final Fantasy XVI goes on to decisively prove, with its story of systemic evils defeated not with systemic criticism, but with Great, Powerful Men, a particularly tiresome kind of rugged bootstrap individualism that seeks to reduce real-world evils to shonen enemies for the Special Man with Special Powers to defeat on his lonesome. It's an attempt to discuss oppression and racism that would embarrass even the other shonen media it is clearly closer in spirit to than the dark fantasy political epic it wears the skin of. In a world where the power fantasy of the shonen superhero is sacrosanct over all other concerns, it leads to a conclusion as absurd and fundamentally unimaginative as shonen jump's weakest scripts: the only thing that can stop a Bad Guy with an Eikon is a Good Guy with an Eikon.
In borrowing the aesthetics of the dark fantasy - and Matsuno games - it seeks to emulate, but without the nuance, FF16 becomes a game where the perspective of the enslaved is almost completely absent (Clive's period as a slave might as well not have occurred for all it impacts his character), and the power of nobility is Good when it is wielded by Good Hands like Lord Rosfield, a slave owner who, despite owning the clearly abused character who serves as our introduction to the bearers, is eulogized completely uncritically by the script, until a final side quest has a character claim that he was planning to free the slaves all along...alongside a letter where Lord Rosfield discusses his desire to "put down the savages". I've never seen attempted slave owner apologia that didn't reveal its virulent underlying racism, and this is no exception. In fact, any time the game attempts to put on a facade of being about something other than The Shonen Hero battling other Kamen Riders for dominance, it crumbles nigh-immediately; when Final Fantasy 16 makes its overtures towards the Power of Friendship, it rings utterly false and hollow: Clive's friends are not his power. His power is his power.
The only part of the game that truly spoke to me was the widely-derided side-quests, which offer a peek into a more compelling story: the story of a man doing the work to build and maintain a community, contributing to both the material and emotional needs of a commune that attempts to exist outside the violence of society. As tedious as these sidequests are - and as agonizing as their pacing so often is - it's the only part of this game where it felt like I was engaging with an idea. But ultimately, even this is annihilated by the game's bootstrap nonsense - that being that the hideaway is funded and maintained by the wealthy and influential across the world, the direct beneficiaries and embodiments of the status quo funding what their involvement reveals to be an utterly illusionary attempt to escape it, rendering what could be an effective exploration of what building a new idea of a community practically looks like into something that could be good neighbors with Galt's Gulch.
In a series that is routinely deeply rewarding for me to consider, FF16 stands as perhaps its most shallow, underwritten, and vacuous entry in decades. All games are ultimately illusions, of course: we're all just moving data around spreadsheets, at the end of the day. But - as is the modern AAA mode de jour - 16 is the result of the careful subtraction of texture from the experience of a game, the removal of any potential frictions and frustrations, but further even than that, it is the removal of personality, of difference, it is the attempt to make make the smoothest, most likable affect possible to the widest number of people possible. And, just like with its AAA brethren, it has almost nothing to offer me. It is the affect of Devil May Cry without its texture, the affect of Game of Thrones without even its nuance, and the affect of Final Fantasy without its soul.
Final Fantasy XVI is ultimately a success. It sought out to be Good, in the way a PS5 game like this is Good, and succeeded. And in so doing, it closed off any possibility that it would ever reach me.
It doesnโt really surprise me that each positive sentiment I have seen on Final Fantasy XVI is followed by an exclamation of derision over the seriesโ recent past. Whether the point of betrayal and failure was in XV, or with XIII, or even as far back as VIII, the rhetorical move is well and truly that Final Fantasy has been Bad, and with XVI, it is good again. Unfortunately, as someone who thought Final Fantasy has Been Good, consistently, throughout essentially the entire span of it's existence, I find myself on the other side of this one.
Final Fantasy XV convinced me that I could still love video games when I thought, for a moment, that I might not. That it was still possible to make games on this scale that were idiosyncratic, personal, and deeply human, even in the awful place the video game industry is in.
Final Fantasy XVI convinced me that it isn't.
Final Fantasy XVI
2023
The first 10-12 hours are great, but it went downhill after that for me personally as the dated hub design and repetitive combat began to grate. The RPG systems were no where near as indepth as I'd like and I thoroughly lost interest in the story. I'll fondly remember that first 10 hours or so but it's time to pop it on ebay for someone else to enjoy.
NieR: Automata
2017
The Quarry
2022
Octopath Traveler II
2023
Unquestionably one of the best RPGs I've ever played. There's genuinely so much in this game to discover and unravel, making it feel just effortless to play through.
Just makes me happy that games like this are still being made, and I really hope that continues in the future.
Did a full review here
Just makes me happy that games like this are still being made, and I really hope that continues in the future.
Did a full review here
The music was a bit repetitive (although excellent in its small catalogue), and some battles frustratingly neglected what made the combat so good, but RH: PC is an utterly wonderful game.
A fantastic narrative full of hope that brings an engaging approach to time travel narratives. Combine this with a SRPG/JRPG hybrid combat system and it is just a treat to play.
A fantastic narrative full of hope that brings an engaging approach to time travel narratives. Combine this with a SRPG/JRPG hybrid combat system and it is just a treat to play.
Pentiment
2022
โโ๐ช ๐ฃ๐ฏ๐ฌ๐ช ๐ ๐ฑ๐ฌ๐ด๐ซ ๐ ๐๐ฉ๐ฉ๐ข๐ก โญ๐ฌ๐๐ฑ๐๐ฏ๐ฆ๐ก๐ค๐ข. โ๐ฑ'๐ฐ ๐ฆ๐ซ ๐๐ ๐ฌ๐ฑ๐ฉ๐๐ซ๐ก. โญ๐ฌ๐๐ฑ๐๐ฏ๐ฆ๐ก๐ค๐ข ๐ฆ๐ฐ ๐ฌ๐ซ ๐ฑ๐ฅ๐ข ๐๐ฌ๐ฏ๐ก๐ข๐ฏ ๐ฌ๐ฃ ๐๐ฉ๐๐ฐ๐ค๐ฌ๐ด ๐๐ซ๐ก ๐ฆ๐ซ 2001 ๐ฆ๐ฑ ๐ฅ๐๐ก ๐ฑ๐ฅ๐ข ๐ก๐ข๐ซ๐ฐ๐ข๐ฐ๐ฑ ๐ญ๐ฌ๐ญ๐ฒ๐ฉ๐๐ฑ๐ฆ๐ฌ๐ซ ๐ฌ๐ฃ โ๐ฏ๐ฆ๐ฐ๐ฅ โญ๐๐ฑ๐ฅ๐ฌ๐ฉ๐ฆ๐ ๐ฐ ๐ญ๐ข๐ฏ ๐ ๐๐ญ๐ฆ๐ฑ๐ ๐๐ซ๐ถ๐ด๐ฅ๐ข๐ฏ๐ข ๐ฆ๐ซ ๐ฑ๐ฅ๐ข ๐ด๐ฌ๐ฏ๐ฉ๐ก ๐ฌ๐ฒ๐ฑ๐ฐ๐ฆ๐ก๐ข ๐ฌ๐ฃ โ๐ฏ๐ข๐ฉ๐๐ซ๐ก.
โ ๐ก๐ฆ๐ก๐ซโ๐ฑ ๐จ๐ซ๐ฌ๐ด ๐ฑ๐ฅ๐๐ฑ ๐ฐ๐๐ถ๐ฆ๐ซ๐ค ๐ญ๐ฏ๐๐ถ๐ข๐ฏ๐ฐ ๐ข๐ฆ๐ค๐ฅ๐ฑ ๐ฑ๐ฆ๐ช๐ข๐ฐ ๐ ๐ก๐๐ถ ๐ด๐๐ฐ๐ซโ๐ฑ ๐ซ๐ฌ๐ฏ๐ช๐๐ฉ ๐ฒ๐ซ๐ฑ๐ฆ๐ฉ โ ๐ด๐๐ฐ 14. ๐๐ฅ๐ข๐ซ โ ๐ฅ๐ข๐๐ฏ ๐ญ๐ข๐ฌ๐ญ๐ฉ๐ข ๐ฐ๐๐ถ ๐ฑ๐ฅ๐ข๐ช ๐ฌ๐ซ ๐ฑ๐ข๐ฉ๐ข๐ณ๐ฆ๐ฐ๐ฆ๐ฌ๐ซ ๐ฌ๐ฏ ๐ฆ๐ซ ๐ฃ๐ฆ๐ฉ๐ช๐ฐ, โ ๐ฐ๐ฑ๐ฆ๐ฉ๐ฉ ๐ญ๐ฏ๐๐ถ ๐๐ฉ๐ฌ๐ซ๐ค ๐ด๐ฆ๐ฑ๐ฅ ๐ฑ๐ฅ๐ข๐ช ๐ฆ๐ซ ๐ช๐ถ ๐ฅ๐ข๐๐ก. โ ๐ก๐ฆ๐ก๐ซ'๐ฑ ๐ฉ๐ฆ๐จ๐ข ๐ค๐ฌ๐ฆ๐ซ๐ค ๐ฑ๐ฌ ๐ช๐๐ฐ๐ฐ ๐ด๐ฅ๐ข๐ซ โ ๐ด๐๐ฐ ๐ถ๐ฌ๐ฒ๐ซ๐ค๐ข๐ฏ, ๐๐ฒ๐ฑ โ ๐ฑ๐ฅ๐ฆ๐ซ๐จ โโ๐ก ๐ฉ๐ฆ๐จ๐ข ๐ฆ๐ฑ ๐ซ๐ฌ๐ด. ๐๐ถ ๐ช๐ฒ๐ช ๐ฐ๐๐ถ๐ฐ ๐ฑ๐ฅ๐๐ฑ ๐ ๐ฉ๐ฌ๐ฑ ๐ฑ๐ฌ๐ฌ. ๐๐๐ถ๐ฆ๐ซ๐ค โ๐ญ๐ข๐๐ ๐ข ๐๐ข ๐ด๐ฆ๐ฑ๐ฅ ๐ถ๐ฌ๐ฒโ ๐๐ซ๐ก ๐ฐ๐ฅ๐๐จ๐ฆ๐ซ๐ค ๐ฅ๐๐ซ๐ก๐ฐ ๐ด๐ฆ๐ฑ๐ฅ ๐ญ๐ข๐ฌ๐ญ๐ฉ๐ข ๐ด๐๐ฐ ๐ช๐ถ ๐ฃ๐๐ณ๐ฌ๐ฒ๐ฏ๐ฆ๐ฑ๐ข ๐ญ๐๐ฏ๐ฑ ๐ฌ๐ฃ ๐ค๐ฌ๐ฆ๐ซ๐ค ๐ฑ๐ฌ ๐ช๐๐ฐ๐ฐ.
๐ฟ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐ฎ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐-๐๐๐๐๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐ฎ๐๐๐๐๐๐๐๐๐. ๐ด ๐๐๐๐'๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐ด ๐๐๐ ๐๐๐๐๐๐๐. ๐ด๐ ๐ฝ๐๐๐๐๐๐๐๐ ๐ฐ๐๐๐๐๐๐๐๐ ๐๐๐๐๐, ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐ฎ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐.
๐ฟ๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐ด ๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐ด ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐ด ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐. ๐ณ๐ ๐๐๐๐ ๐๐ ๐๐ ๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐ดโ๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐. ๐ด ๐๐๐๐ ๐๐ ๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐ ๐๐ ๐ฌ๐๐ ๐บ๐ ๐ฎ๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐ณ๐๐๐ ๐ธ๐๐๐๐. ๐ด ๐๐๐ ๐๐๐ ๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐ ๐๐โ๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ยฃ๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐ ๐๐๐ ๐ฒ๐๐๐๐๐๐ฐ๐๐ ๐๐๐ ๐๐๐ ๐น๐๐๐๐๐๐๐ ๐๐.
๐ฌ๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐๐, ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐ ๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐-๐๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐. ๐ณ๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐. ๐ณ๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐. ๐ฌ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐, ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐.
๐โ๐ฟ๐ฎ ๐ท๐ฎ๐ฟ๐ฎ๐ป ๐ฑ๐ช๐ญ ๐ช๐ท๐ ๐ด๐ฒ๐ท๐ญ ๐ธ๐ฏ ๐ผ๐ฎ๐ ๐ฎ๐ญ๐พ๐ฌ๐ช๐ฝ๐ฒ๐ธ๐ท ๐ฏ๐ป๐ธ๐ถ ๐ช๐ท๐๐ธ๐ท๐ฎ, ๐ฝ๐ฑ๐ธ๐พ๐ฐ๐ฑ ๐ฒ๐ฝ ๐ฒ๐ผ ๐ถ๐ช๐ท๐ญ๐ช๐ฝ๐ธ๐ป๐ ๐ฏ๐ธ๐ป ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต๐ผ ๐ธ๐ฏ ๐ช๐ต๐ต ๐ญ๐ฎ๐ท๐ธ๐ถ๐ฒ๐ท๐ช๐ฝ๐ฒ๐ธ๐ท๐ผ ๐ฒ๐ท ๐ข๐ฌ๐ธ๐ฝ๐ต๐ช๐ท๐ญ ๐ฝ๐ธ ๐ฝ๐ฎ๐ช๐ฌ๐ฑ ๐ฐ๐ฒ๐ป๐ต๐ผ ๐ช๐ซ๐ธ๐พ๐ฝ ๐น๐พ๐ซ๐ฎ๐ป๐ฝ๐ ๐ช๐ท๐ญ ๐ถ๐ฎ๐ท๐ผ๐ฝ๐ป๐พ๐ช๐ฝ๐ฒ๐ธ๐ท. ๐๐ท ๐ฝ๐ฑ๐ฎ ๐ญ๐ช๐ ๐ฝ๐ฑ๐ฎ ๐ฐ๐ฒ๐ป๐ต๐ผ ๐ฒ๐ท ๐ธ๐พ๐ป ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต ๐ฑ๐ช๐ญ ๐ฝ๐ธ ๐ต๐ฎ๐ช๐ป๐ท ๐ช๐ซ๐ธ๐พ๐ฝ ๐ช๐ต๐ต ๐ธ๐ฏ ๐ฝ๐ฑ๐ฒ๐ผ, ๐ฝ๐ฑ๐ฎ ๐ซ๐ธ๐๐ผ ๐ฐ๐ธ๐ฝ ๐ฝ๐ธ ๐ฐ๐ธ ๐ฝ๐ธ ๐ช ๐ต๐ธ๐ฌ๐ช๐ต ๐๐ช๐ฝ๐ฎ๐ป ๐น๐ช๐ป๐ด. ๐๐ ๐ฏ๐ป๐ฒ๐ฎ๐ท๐ญ๐ผ ๐ช๐ท๐ญ ๐ ๐ถ๐ช๐ท๐ช๐ฐ๐ฎ๐ญ ๐ฝ๐ธ ๐ซ๐ฎ๐ช๐ฝ ๐๐ช๐พ๐ท๐ฝ๐ต๐ฎ๐ฝ ๐ช๐ฝ ๐ฝ๐ฑ๐ฎ ๐ช๐ป๐ฌ๐ช๐ญ๐ฎ ๐ฝ๐ฑ๐ฎ๐ป๐ฎ ๐ฝ๐ฑ๐ช๐ฝ ๐ญ๐ช๐ ๐ช๐ท๐ญ ๐๐ฑ๐ฎ๐ท ๐๐ฎ ๐ฝ๐ธ๐ต๐ญ ๐ธ๐พ๐ป ๐ธ๐ท๐ต๐ ๐ฏ๐ฎ๐ถ๐ช๐ต๐ฎ ๐ฏ๐ป๐ฒ๐ฎ๐ท๐ญ ๐ช๐ซ๐ธ๐พ๐ฝ ๐ฒ๐ฝ ๐ต๐ช๐ฝ๐ฎ๐ป ๐ธ๐ท, ๐ผ๐ฑ๐ฎ ๐ผ๐ฝ๐ช๐ป๐ฝ๐ฎ๐ญ ๐ฌ๐ป๐๐ฒ๐ท๐ฐ.
๐ ๐ฝ๐ฎ๐ช๐ฌ๐ฑ๐ฎ๐ป ๐ธ๐ท๐ฌ๐ฎ ๐ฝ๐ธ๐ต๐ญ ๐พ๐ผ ๐ฝ๐ฑ๐ช๐ฝ ๐ฑ๐ช๐ฟ๐ฒ๐ท๐ฐ ๐ผ๐ฎ๐ ๐ธ๐พ๐ฝ๐ผ๐ฒ๐ญ๐ฎ ๐ธ๐ฏ ๐ถ๐ช๐ป๐ป๐ฒ๐ช๐ฐ๐ฎ ๐๐ธ๐พ๐ต๐ญ, ๐ป๐ฎ๐ฐ๐ช๐ป๐ญ๐ต๐ฎ๐ผ๐ผ ๐ธ๐ฏ ๐ฌ๐ธ๐ท๐ฝ๐ป๐ช๐ฌ๐ฎ๐น๐ฝ๐ฒ๐ธ๐ท, ๐ช๐พ๐ฝ๐ธ๐ถ๐ช๐ฝ๐ฒ๐ฌ๐ช๐ต๐ต๐ ๐ต๐ฎ๐ช๐ญ ๐ฝ๐ธ ๐น๐ป๐ฎ๐ฐ๐ท๐ช๐ท๐ฌ๐ ๐ช๐ท๐ญ ๐ฝ๐ฑ๐ฎ ๐ฌ๐ธ๐ท๐ฝ๐ป๐ช๐ฌ๐ฝ๐ฒ๐ธ๐ท ๐ธ๐ฏ ๐๐๐๐ผ ๐ช๐ท๐ญ ๐๐๐ฅ. ๐๐ฎ ๐ฝ๐ฑ๐ธ๐พ๐ฐ๐ฑ๐ฝ ๐๐๐๐ผ ๐ช๐ท๐ญ ๐๐๐ฅ ๐๐ฎ๐ป๐ฎ ๐ฝ๐๐ธ ๐ญ๐ฒ๐ฏ๐ฏ๐ฎ๐ป๐ฎ๐ท๐ฝ ๐ฝ๐ฑ๐ฒ๐ท๐ฐ๐ผ. ๐๐๐๐ผ ๐๐ช๐ผ ๐๐ธ๐ญโ๐ผ ๐น๐พ๐ท๐ฒ๐ผ๐ฑ๐ถ๐ฎ๐ท๐ฝ ๐ฏ๐ธ๐ป ๐น๐ฎ๐ธ๐น๐ต๐ฎ ๐๐ฑ๐ธ ๐ญ๐ฒ๐ญ๐ท'๐ฝ ๐ป๐ฎ๐ผ๐น๐ฎ๐ฌ๐ฝ ๐ฝ๐ฑ๐ฎ ๐ฑ๐ธ๐ต๐ ๐ผ๐ช๐ฌ๐ป๐ช๐ถ๐ฎ๐ท๐ฝ ๐ธ๐ฏ ๐ถ๐ช๐ฝ๐ป๐ฒ๐ถ๐ธ๐ท๐. ๐ฃ๐ฑ๐ฎ ๐ฏ๐ฒ๐ป๐ผ๐ฝ ๐ฐ๐ฒ๐ป๐ต ๐ ๐ฎ๐ฟ๐ฎ๐ป ๐ผ๐ต๐ฎ๐น๐ฝ ๐๐ฒ๐ฝ๐ฑ ๐๐ช๐ผ ๐ฏ๐ป๐ธ๐ถ ๐ถ๐ ๐ฌ๐ต๐ช๐ผ๐ผ ๐ช๐ท๐ญ ๐ ๐ฝ๐ฑ๐ฒ๐ท๐ด ๐ฝ๐ฑ๐ช๐ฝ ๐๐ช๐ผ ๐ธ๐ท ๐ซ๐ธ๐ฝ๐ฑ ๐ธ๐ฏ ๐ธ๐พ๐ป ๐ถ๐ฒ๐ท๐ญ๐ผ ๐๐ฑ๐ฎ๐ท ๐๐ฎ ๐ฑ๐ช๐ญ ๐ผ๐ฎ๐.
๐๐ฏ๐ฝ๐ฎ๐ป ๐ ๐ป๐ฎ๐ช๐ญ ๐ฃ๐ฑ๐ฎ ๐๐ธ๐ญ ๐๐ฎ๐ต๐พ๐ผ๐ฒ๐ธ๐ท ๐ช๐ท๐ญ ๐ญ๐ฎ๐ฌ๐ฒ๐ญ๐ฎ๐ญ ๐ ๐ฑ๐ช๐ญ ๐ฏ๐ฒ๐ฐ๐พ๐ป๐ฎ๐ญ ๐ธ๐พ๐ฝ ๐ฑ๐พ๐ถ๐ช๐ท ๐ฎ๐๐ฒ๐ผ๐ฝ๐ฎ๐ท๐ฌ๐ฎ, ๐ ๐ผ๐ฝ๐ธ๐น๐น๐ฎ๐ญ ๐ผ๐ฒ๐ฐ๐ท๐ฒ๐ท๐ฐ ๐ช๐ฏ๐ฝ๐ฎ๐ป ๐น๐ป๐ช๐๐ฎ๐ป๐ผ ๐ช๐ท๐ญ ๐ถ๐ช๐ญ๐ฎ ๐ฝ๐ฑ๐ฎ ๐ฒ๐ท๐ญ๐ฒ๐ผ๐น๐ธ๐ผ๐ฎ๐ญ ๐ฌ๐ป๐ธ๐ผ๐ผ ๐๐ฑ๐ฎ๐ท ๐ฒ๐ฝ ๐๐ช๐ผ ๐ฝ๐ฒ๐ถ๐ฎ ๐ฝ๐ธ ๐ป๐ฎ๐ฌ๐ฎ๐ฒ๐ฟ๐ฎ ๐ฌ๐ธ๐ถ๐ถ๐พ๐ท๐ฒ๐ธ๐ท. ๐ ๐ช๐ต๐๐ช๐๐ผ ๐๐ช๐ผ๐ฑ๐ฎ๐ญ ๐ฝ๐ฑ๐ฎ ๐ช๐ผ๐ฑ๐ฎ๐ผ ๐ธ๐ฏ๐ฏ ๐ถ๐ ๐ฏ๐ธ๐ป๐ฎ๐ฑ๐ฎ๐ช๐ญ ๐ซ๐ฎ๐ฌ๐ช๐พ๐ผ๐ฎ ๐ฒ๐ฝ ๐ฒ๐ท๐ฝ๐ฎ๐ป๐ฏ๐ฎ๐ป๐ฎ๐ญ ๐๐ฒ๐ฝ๐ฑ ๐ถ๐ ๐ผ๐ฒ๐ญ๐ฎ-๐ฏ๐ป๐ฒ๐ท๐ฐ๐ฎ. ๐๐ท ๐ถ๐ ๐ฏ๐ฒ๐ท๐ช๐ต ๐๐ฎ๐ช๐ป ๐ธ๐ฏ ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต ๐ ๐๐ช๐ผ ๐ช๐ญ๐ฟ๐ฒ๐ผ๐ฎ๐ญ ๐ฝ๐ธ ๐ต๐ฎ๐ช๐ฟ๐ฎ ๐ช๐ท๐ญ ๐ฐ๐ฎ๐ฝ ๐ช ๐ณ๐ธ๐ซ ๐ซ๐ฎ๐ฌ๐ช๐พ๐ผ๐ฎ ๐ ๐๐ช๐ผ๐ท'๐ฝ ๐ฎ๐ท๐ฐ๐ช๐ฐ๐ฒ๐ท๐ฐ ๐๐ฒ๐ฝ๐ฑ ๐ฝ๐ฑ๐ฎ ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต'๐ผ ๐ฎ๐ฝ๐ฑ๐ธ๐ผ ๐ช๐ท๐ญ ๐ฟ๐ช๐ต๐พ๐ฎ๐ผ.
๐๐ฉ๐ช๐ญ๐ฆ ๐ข๐ญ๐ญ ๐ฎ๐บ ๐ง๐ณ๐ช๐ฆ๐ฏ๐ฅ๐ด ๐ง๐ช๐ฏ๐ช๐ด๐ฉ๐ฆ๐ฅ ๐ต๐ฉ๐ฆ๐ช๐ณ ๐ด๐ต๐ถ๐ฅ๐ช๐ฆ๐ด, ๐ ๐ญ๐ฆ๐ข๐ณ๐ฏ๐ฆ๐ฅ ๐ต๐ฐ ๐ฅ๐ณ๐ช๐ท๐ฆ ๐ข๐ฏ๐ฅ ๐จ๐ฐ๐ต ๐ข ๐ซ๐ฐ๐ฃ ๐ฐ๐ถ๐ต๐ด๐ช๐ฅ๐ฆ ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ. ๐๐ฉ๐ข๐ต ๐ธ๐ข๐ด ๐ข ๐ฅ๐ฆ๐ญ๐ช๐ฃ๐ฆ๐ณ๐ข๐ต๐ฆ ๐ฅ๐ฆ๐ค๐ช๐ด๐ช๐ฐ๐ฏ. ๐ ๐ญ๐ช๐ฌ๐ฆ๐ฅ ๐ต๐ฐ ๐ต๐ข๐ฌ๐ฆ ๐ฑ๐ฆ๐ฐ๐ฑ๐ญ๐ฆ ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐๐ฐ๐ถ๐ณ, ๐ธ๐ฉ๐ช๐ค๐ฉ ๐ช๐ด ๐ธ๐ฉ๐ฆ๐ฏ ๐บ๐ฐ๐ถ ๐ฅ๐ณ๐ช๐ท๐ฆ ๐ง๐ณ๐ฐ๐ฎ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐ต๐ฉ๐ฆ ๐ฆ๐ข๐ด๐ต ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐ต๐ฉ๐ฆ ๐ธ๐ฆ๐ด๐ต ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ข๐ฏ๐ฅ ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ ๐ธ๐ข๐บ ๐บ๐ฐ๐ถ ๐ฆ๐ฏ๐ฅ ๐ถ๐ฑ ๐ด๐ฆ๐ฆ๐ช๐ฏ๐จ ๐ฎ๐ฐ๐ด๐ต ๐ฐ๐ง ๐ต๐ฉ๐ฆ ๐ต๐ฐ๐ธ๐ฏ. ๐๐ฉ๐ฆ๐ณ๐ฆ ๐ธ๐ฆ๐ณ๐ฆ ๐ต๐ธ๐ฐ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ข๐ฏ๐ฅ ๐ฐ๐ฏ๐ญ๐บ ๐ฐ๐ฏ๐ฆ ๐ด๐ช๐ต-๐ช๐ฏ ๐ณ๐ฆ๐ด๐ต๐ข๐ถ๐ณ๐ข๐ฏ๐ต.
๐๐๐๐ ๐ธ ๐ ๐๐ ๐ธ๐ท, ๐ธ ๐๐๐ ๐ ๐๐๐ ๐๐ ๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐ถ๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐ข ๐๐๐ ๐ ๐๐๐๐๐ ๐ ๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐ ๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐ข ๐๐๐๐ ๐ฒ๐๐๐๐๐๐๐๐๐ ๐ ๐๐๐ ๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐๐. ๐พ๐ ๐๐๐ ๐๐๐ข ๐ธ ๐๐๐๐, ๐๐ข ๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐ข ๐๐๐๐๐ ๐๐๐๐ ๐ฟ๐๐๐ ๐น๐๐๐ ๐ฟ๐๐๐ ๐ธ๐ธ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐ ๐ ๐๐๐๐๐โ๐ ๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐ ๐๐๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐๐๐๐. ๐ฐ ๐๐๐ ๐ข๐๐๐๐ ๐๐๐๐๐ ๐ธ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐ ๐๐ ๐๐ ๐๐๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐๐๐๐. ๐๐๐ ๐๐๐๐ ๐ ๐๐๐ ๐ ๐๐๐๐๐๐ข ๐๐๐๐ ๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐.
โ ๐ก๐ฆ๐ก๐ซโ๐ฑ ๐จ๐ซ๐ฌ๐ด ๐ฑ๐ฅ๐๐ฑ ๐ฐ๐๐ถ๐ฆ๐ซ๐ค ๐ญ๐ฏ๐๐ถ๐ข๐ฏ๐ฐ ๐ข๐ฆ๐ค๐ฅ๐ฑ ๐ฑ๐ฆ๐ช๐ข๐ฐ ๐ ๐ก๐๐ถ ๐ด๐๐ฐ๐ซโ๐ฑ ๐ซ๐ฌ๐ฏ๐ช๐๐ฉ ๐ฒ๐ซ๐ฑ๐ฆ๐ฉ โ ๐ด๐๐ฐ 14. ๐๐ฅ๐ข๐ซ โ ๐ฅ๐ข๐๐ฏ ๐ญ๐ข๐ฌ๐ญ๐ฉ๐ข ๐ฐ๐๐ถ ๐ฑ๐ฅ๐ข๐ช ๐ฌ๐ซ ๐ฑ๐ข๐ฉ๐ข๐ณ๐ฆ๐ฐ๐ฆ๐ฌ๐ซ ๐ฌ๐ฏ ๐ฆ๐ซ ๐ฃ๐ฆ๐ฉ๐ช๐ฐ, โ ๐ฐ๐ฑ๐ฆ๐ฉ๐ฉ ๐ญ๐ฏ๐๐ถ ๐๐ฉ๐ฌ๐ซ๐ค ๐ด๐ฆ๐ฑ๐ฅ ๐ฑ๐ฅ๐ข๐ช ๐ฆ๐ซ ๐ช๐ถ ๐ฅ๐ข๐๐ก. โ ๐ก๐ฆ๐ก๐ซ'๐ฑ ๐ฉ๐ฆ๐จ๐ข ๐ค๐ฌ๐ฆ๐ซ๐ค ๐ฑ๐ฌ ๐ช๐๐ฐ๐ฐ ๐ด๐ฅ๐ข๐ซ โ ๐ด๐๐ฐ ๐ถ๐ฌ๐ฒ๐ซ๐ค๐ข๐ฏ, ๐๐ฒ๐ฑ โ ๐ฑ๐ฅ๐ฆ๐ซ๐จ โโ๐ก ๐ฉ๐ฆ๐จ๐ข ๐ฆ๐ฑ ๐ซ๐ฌ๐ด. ๐๐ถ ๐ช๐ฒ๐ช ๐ฐ๐๐ถ๐ฐ ๐ฑ๐ฅ๐๐ฑ ๐ ๐ฉ๐ฌ๐ฑ ๐ฑ๐ฌ๐ฌ. ๐๐๐ถ๐ฆ๐ซ๐ค โ๐ญ๐ข๐๐ ๐ข ๐๐ข ๐ด๐ฆ๐ฑ๐ฅ ๐ถ๐ฌ๐ฒโ ๐๐ซ๐ก ๐ฐ๐ฅ๐๐จ๐ฆ๐ซ๐ค ๐ฅ๐๐ซ๐ก๐ฐ ๐ด๐ฆ๐ฑ๐ฅ ๐ญ๐ข๐ฌ๐ญ๐ฉ๐ข ๐ด๐๐ฐ ๐ช๐ถ ๐ฃ๐๐ณ๐ฌ๐ฒ๐ฏ๐ฆ๐ฑ๐ข ๐ญ๐๐ฏ๐ฑ ๐ฌ๐ฃ ๐ค๐ฌ๐ฆ๐ซ๐ค ๐ฑ๐ฌ ๐ช๐๐ฐ๐ฐ.
๐ฟ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐ฎ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐-๐๐๐๐๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐ฎ๐๐๐๐๐๐๐๐๐. ๐ด ๐๐๐๐'๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐ด ๐๐๐ ๐๐๐๐๐๐๐. ๐ด๐ ๐ฝ๐๐๐๐๐๐๐๐ ๐ฐ๐๐๐๐๐๐๐๐ ๐๐๐๐๐, ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐ฎ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐.
๐ฟ๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐ด ๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐ด ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐ด ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐. ๐ณ๐ ๐๐๐๐ ๐๐ ๐๐ ๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐ดโ๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐. ๐ด ๐๐๐๐ ๐๐ ๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐ ๐๐ ๐ฌ๐๐ ๐บ๐ ๐ฎ๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐ณ๐๐๐ ๐ธ๐๐๐๐. ๐ด ๐๐๐ ๐๐๐ ๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐ ๐๐โ๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ยฃ๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐ ๐๐๐ ๐ฒ๐๐๐๐๐๐ฐ๐๐ ๐๐๐ ๐๐๐ ๐น๐๐๐๐๐๐๐ ๐๐.
๐ฌ๐ ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐๐, ๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐ ๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐ ๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐-๐๐๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐. ๐ณ๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐. ๐ณ๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐. ๐ฌ ๐๐๐ ๐๐๐๐๐ ๐๐๐๐๐, ๐๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐ ๐๐ ๐๐๐๐ ๐๐ ๐๐๐๐๐๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐๐.
๐โ๐ฟ๐ฎ ๐ท๐ฎ๐ฟ๐ฎ๐ป ๐ฑ๐ช๐ญ ๐ช๐ท๐ ๐ด๐ฒ๐ท๐ญ ๐ธ๐ฏ ๐ผ๐ฎ๐ ๐ฎ๐ญ๐พ๐ฌ๐ช๐ฝ๐ฒ๐ธ๐ท ๐ฏ๐ป๐ธ๐ถ ๐ช๐ท๐๐ธ๐ท๐ฎ, ๐ฝ๐ฑ๐ธ๐พ๐ฐ๐ฑ ๐ฒ๐ฝ ๐ฒ๐ผ ๐ถ๐ช๐ท๐ญ๐ช๐ฝ๐ธ๐ป๐ ๐ฏ๐ธ๐ป ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต๐ผ ๐ธ๐ฏ ๐ช๐ต๐ต ๐ญ๐ฎ๐ท๐ธ๐ถ๐ฒ๐ท๐ช๐ฝ๐ฒ๐ธ๐ท๐ผ ๐ฒ๐ท ๐ข๐ฌ๐ธ๐ฝ๐ต๐ช๐ท๐ญ ๐ฝ๐ธ ๐ฝ๐ฎ๐ช๐ฌ๐ฑ ๐ฐ๐ฒ๐ป๐ต๐ผ ๐ช๐ซ๐ธ๐พ๐ฝ ๐น๐พ๐ซ๐ฎ๐ป๐ฝ๐ ๐ช๐ท๐ญ ๐ถ๐ฎ๐ท๐ผ๐ฝ๐ป๐พ๐ช๐ฝ๐ฒ๐ธ๐ท. ๐๐ท ๐ฝ๐ฑ๐ฎ ๐ญ๐ช๐ ๐ฝ๐ฑ๐ฎ ๐ฐ๐ฒ๐ป๐ต๐ผ ๐ฒ๐ท ๐ธ๐พ๐ป ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต ๐ฑ๐ช๐ญ ๐ฝ๐ธ ๐ต๐ฎ๐ช๐ป๐ท ๐ช๐ซ๐ธ๐พ๐ฝ ๐ช๐ต๐ต ๐ธ๐ฏ ๐ฝ๐ฑ๐ฒ๐ผ, ๐ฝ๐ฑ๐ฎ ๐ซ๐ธ๐๐ผ ๐ฐ๐ธ๐ฝ ๐ฝ๐ธ ๐ฐ๐ธ ๐ฝ๐ธ ๐ช ๐ต๐ธ๐ฌ๐ช๐ต ๐๐ช๐ฝ๐ฎ๐ป ๐น๐ช๐ป๐ด. ๐๐ ๐ฏ๐ป๐ฒ๐ฎ๐ท๐ญ๐ผ ๐ช๐ท๐ญ ๐ ๐ถ๐ช๐ท๐ช๐ฐ๐ฎ๐ญ ๐ฝ๐ธ ๐ซ๐ฎ๐ช๐ฝ ๐๐ช๐พ๐ท๐ฝ๐ต๐ฎ๐ฝ ๐ช๐ฝ ๐ฝ๐ฑ๐ฎ ๐ช๐ป๐ฌ๐ช๐ญ๐ฎ ๐ฝ๐ฑ๐ฎ๐ป๐ฎ ๐ฝ๐ฑ๐ช๐ฝ ๐ญ๐ช๐ ๐ช๐ท๐ญ ๐๐ฑ๐ฎ๐ท ๐๐ฎ ๐ฝ๐ธ๐ต๐ญ ๐ธ๐พ๐ป ๐ธ๐ท๐ต๐ ๐ฏ๐ฎ๐ถ๐ช๐ต๐ฎ ๐ฏ๐ป๐ฒ๐ฎ๐ท๐ญ ๐ช๐ซ๐ธ๐พ๐ฝ ๐ฒ๐ฝ ๐ต๐ช๐ฝ๐ฎ๐ป ๐ธ๐ท, ๐ผ๐ฑ๐ฎ ๐ผ๐ฝ๐ช๐ป๐ฝ๐ฎ๐ญ ๐ฌ๐ป๐๐ฒ๐ท๐ฐ.
๐ ๐ฝ๐ฎ๐ช๐ฌ๐ฑ๐ฎ๐ป ๐ธ๐ท๐ฌ๐ฎ ๐ฝ๐ธ๐ต๐ญ ๐พ๐ผ ๐ฝ๐ฑ๐ช๐ฝ ๐ฑ๐ช๐ฟ๐ฒ๐ท๐ฐ ๐ผ๐ฎ๐ ๐ธ๐พ๐ฝ๐ผ๐ฒ๐ญ๐ฎ ๐ธ๐ฏ ๐ถ๐ช๐ป๐ป๐ฒ๐ช๐ฐ๐ฎ ๐๐ธ๐พ๐ต๐ญ, ๐ป๐ฎ๐ฐ๐ช๐ป๐ญ๐ต๐ฎ๐ผ๐ผ ๐ธ๐ฏ ๐ฌ๐ธ๐ท๐ฝ๐ป๐ช๐ฌ๐ฎ๐น๐ฝ๐ฒ๐ธ๐ท, ๐ช๐พ๐ฝ๐ธ๐ถ๐ช๐ฝ๐ฒ๐ฌ๐ช๐ต๐ต๐ ๐ต๐ฎ๐ช๐ญ ๐ฝ๐ธ ๐น๐ป๐ฎ๐ฐ๐ท๐ช๐ท๐ฌ๐ ๐ช๐ท๐ญ ๐ฝ๐ฑ๐ฎ ๐ฌ๐ธ๐ท๐ฝ๐ป๐ช๐ฌ๐ฝ๐ฒ๐ธ๐ท ๐ธ๐ฏ ๐๐๐๐ผ ๐ช๐ท๐ญ ๐๐๐ฅ. ๐๐ฎ ๐ฝ๐ฑ๐ธ๐พ๐ฐ๐ฑ๐ฝ ๐๐๐๐ผ ๐ช๐ท๐ญ ๐๐๐ฅ ๐๐ฎ๐ป๐ฎ ๐ฝ๐๐ธ ๐ญ๐ฒ๐ฏ๐ฏ๐ฎ๐ป๐ฎ๐ท๐ฝ ๐ฝ๐ฑ๐ฒ๐ท๐ฐ๐ผ. ๐๐๐๐ผ ๐๐ช๐ผ ๐๐ธ๐ญโ๐ผ ๐น๐พ๐ท๐ฒ๐ผ๐ฑ๐ถ๐ฎ๐ท๐ฝ ๐ฏ๐ธ๐ป ๐น๐ฎ๐ธ๐น๐ต๐ฎ ๐๐ฑ๐ธ ๐ญ๐ฒ๐ญ๐ท'๐ฝ ๐ป๐ฎ๐ผ๐น๐ฎ๐ฌ๐ฝ ๐ฝ๐ฑ๐ฎ ๐ฑ๐ธ๐ต๐ ๐ผ๐ช๐ฌ๐ป๐ช๐ถ๐ฎ๐ท๐ฝ ๐ธ๐ฏ ๐ถ๐ช๐ฝ๐ป๐ฒ๐ถ๐ธ๐ท๐. ๐ฃ๐ฑ๐ฎ ๐ฏ๐ฒ๐ป๐ผ๐ฝ ๐ฐ๐ฒ๐ป๐ต ๐ ๐ฎ๐ฟ๐ฎ๐ป ๐ผ๐ต๐ฎ๐น๐ฝ ๐๐ฒ๐ฝ๐ฑ ๐๐ช๐ผ ๐ฏ๐ป๐ธ๐ถ ๐ถ๐ ๐ฌ๐ต๐ช๐ผ๐ผ ๐ช๐ท๐ญ ๐ ๐ฝ๐ฑ๐ฒ๐ท๐ด ๐ฝ๐ฑ๐ช๐ฝ ๐๐ช๐ผ ๐ธ๐ท ๐ซ๐ธ๐ฝ๐ฑ ๐ธ๐ฏ ๐ธ๐พ๐ป ๐ถ๐ฒ๐ท๐ญ๐ผ ๐๐ฑ๐ฎ๐ท ๐๐ฎ ๐ฑ๐ช๐ญ ๐ผ๐ฎ๐.
๐๐ฏ๐ฝ๐ฎ๐ป ๐ ๐ป๐ฎ๐ช๐ญ ๐ฃ๐ฑ๐ฎ ๐๐ธ๐ญ ๐๐ฎ๐ต๐พ๐ผ๐ฒ๐ธ๐ท ๐ช๐ท๐ญ ๐ญ๐ฎ๐ฌ๐ฒ๐ญ๐ฎ๐ญ ๐ ๐ฑ๐ช๐ญ ๐ฏ๐ฒ๐ฐ๐พ๐ป๐ฎ๐ญ ๐ธ๐พ๐ฝ ๐ฑ๐พ๐ถ๐ช๐ท ๐ฎ๐๐ฒ๐ผ๐ฝ๐ฎ๐ท๐ฌ๐ฎ, ๐ ๐ผ๐ฝ๐ธ๐น๐น๐ฎ๐ญ ๐ผ๐ฒ๐ฐ๐ท๐ฒ๐ท๐ฐ ๐ช๐ฏ๐ฝ๐ฎ๐ป ๐น๐ป๐ช๐๐ฎ๐ป๐ผ ๐ช๐ท๐ญ ๐ถ๐ช๐ญ๐ฎ ๐ฝ๐ฑ๐ฎ ๐ฒ๐ท๐ญ๐ฒ๐ผ๐น๐ธ๐ผ๐ฎ๐ญ ๐ฌ๐ป๐ธ๐ผ๐ผ ๐๐ฑ๐ฎ๐ท ๐ฒ๐ฝ ๐๐ช๐ผ ๐ฝ๐ฒ๐ถ๐ฎ ๐ฝ๐ธ ๐ป๐ฎ๐ฌ๐ฎ๐ฒ๐ฟ๐ฎ ๐ฌ๐ธ๐ถ๐ถ๐พ๐ท๐ฒ๐ธ๐ท. ๐ ๐ช๐ต๐๐ช๐๐ผ ๐๐ช๐ผ๐ฑ๐ฎ๐ญ ๐ฝ๐ฑ๐ฎ ๐ช๐ผ๐ฑ๐ฎ๐ผ ๐ธ๐ฏ๐ฏ ๐ถ๐ ๐ฏ๐ธ๐ป๐ฎ๐ฑ๐ฎ๐ช๐ญ ๐ซ๐ฎ๐ฌ๐ช๐พ๐ผ๐ฎ ๐ฒ๐ฝ ๐ฒ๐ท๐ฝ๐ฎ๐ป๐ฏ๐ฎ๐ป๐ฎ๐ญ ๐๐ฒ๐ฝ๐ฑ ๐ถ๐ ๐ผ๐ฒ๐ญ๐ฎ-๐ฏ๐ป๐ฒ๐ท๐ฐ๐ฎ. ๐๐ท ๐ถ๐ ๐ฏ๐ฒ๐ท๐ช๐ต ๐๐ฎ๐ช๐ป ๐ธ๐ฏ ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต ๐ ๐๐ช๐ผ ๐ช๐ญ๐ฟ๐ฒ๐ผ๐ฎ๐ญ ๐ฝ๐ธ ๐ต๐ฎ๐ช๐ฟ๐ฎ ๐ช๐ท๐ญ ๐ฐ๐ฎ๐ฝ ๐ช ๐ณ๐ธ๐ซ ๐ซ๐ฎ๐ฌ๐ช๐พ๐ผ๐ฎ ๐ ๐๐ช๐ผ๐ท'๐ฝ ๐ฎ๐ท๐ฐ๐ช๐ฐ๐ฒ๐ท๐ฐ ๐๐ฒ๐ฝ๐ฑ ๐ฝ๐ฑ๐ฎ ๐ผ๐ฌ๐ฑ๐ธ๐ธ๐ต'๐ผ ๐ฎ๐ฝ๐ฑ๐ธ๐ผ ๐ช๐ท๐ญ ๐ฟ๐ช๐ต๐พ๐ฎ๐ผ.
๐๐ฉ๐ช๐ญ๐ฆ ๐ข๐ญ๐ญ ๐ฎ๐บ ๐ง๐ณ๐ช๐ฆ๐ฏ๐ฅ๐ด ๐ง๐ช๐ฏ๐ช๐ด๐ฉ๐ฆ๐ฅ ๐ต๐ฉ๐ฆ๐ช๐ณ ๐ด๐ต๐ถ๐ฅ๐ช๐ฆ๐ด, ๐ ๐ญ๐ฆ๐ข๐ณ๐ฏ๐ฆ๐ฅ ๐ต๐ฐ ๐ฅ๐ณ๐ช๐ท๐ฆ ๐ข๐ฏ๐ฅ ๐จ๐ฐ๐ต ๐ข ๐ซ๐ฐ๐ฃ ๐ฐ๐ถ๐ต๐ด๐ช๐ฅ๐ฆ ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ. ๐๐ฉ๐ข๐ต ๐ธ๐ข๐ด ๐ข ๐ฅ๐ฆ๐ญ๐ช๐ฃ๐ฆ๐ณ๐ข๐ต๐ฆ ๐ฅ๐ฆ๐ค๐ช๐ด๐ช๐ฐ๐ฏ. ๐ ๐ญ๐ช๐ฌ๐ฆ๐ฅ ๐ต๐ฐ ๐ต๐ข๐ฌ๐ฆ ๐ฑ๐ฆ๐ฐ๐ฑ๐ญ๐ฆ ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐๐ฐ๐ถ๐ณ, ๐ธ๐ฉ๐ช๐ค๐ฉ ๐ช๐ด ๐ธ๐ฉ๐ฆ๐ฏ ๐บ๐ฐ๐ถ ๐ฅ๐ณ๐ช๐ท๐ฆ ๐ง๐ณ๐ฐ๐ฎ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐ต๐ฉ๐ฆ ๐ฆ๐ข๐ด๐ต ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐ต๐ฉ๐ฆ ๐ธ๐ฆ๐ด๐ต ๐ฐ๐ง ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ข๐ฏ๐ฅ ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ ๐ธ๐ข๐บ ๐บ๐ฐ๐ถ ๐ฆ๐ฏ๐ฅ ๐ถ๐ฑ ๐ด๐ฆ๐ฆ๐ช๐ฏ๐จ ๐ฎ๐ฐ๐ด๐ต ๐ฐ๐ง ๐ต๐ฉ๐ฆ ๐ต๐ฐ๐ธ๐ฏ. ๐๐ฉ๐ฆ๐ณ๐ฆ ๐ธ๐ฆ๐ณ๐ฆ ๐ต๐ธ๐ฐ ๐๐ค๐๐ฐ๐ฏ๐ข๐ญ๐ฅ๐ด ๐ช๐ฏ ๐๐ฐ๐ข๐ต๐ฃ๐ณ๐ช๐ฅ๐จ๐ฆ ๐ข๐ฏ๐ฅ ๐ฐ๐ฏ๐ญ๐บ ๐ฐ๐ฏ๐ฆ ๐ด๐ช๐ต-๐ช๐ฏ ๐ณ๐ฆ๐ด๐ต๐ข๐ถ๐ณ๐ข๐ฏ๐ต.
๐๐๐๐ ๐ธ ๐ ๐๐ ๐ธ๐ท, ๐ธ ๐๐๐ ๐ ๐๐๐ ๐๐ ๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐๐ ๐ถ๐๐๐๐๐๐ ๐๐๐๐๐๐๐๐๐๐ข ๐๐๐ ๐ ๐๐๐๐๐ ๐ ๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐ ๐ ๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐๐ ๐๐ข ๐๐๐๐ ๐ฒ๐๐๐๐๐๐๐๐๐ ๐ ๐๐๐ ๐๐ ๐๐๐๐๐๐๐๐๐๐ ๐๐ ๐๐๐๐ ๐๐๐๐๐๐๐๐๐. ๐พ๐ ๐๐๐ ๐๐๐ข ๐ธ ๐๐๐๐, ๐๐ข ๐๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐ข ๐๐๐๐๐ ๐๐๐๐ ๐ฟ๐๐๐ ๐น๐๐๐ ๐ฟ๐๐๐ ๐ธ๐ธ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐ ๐๐๐๐ ๐๐๐ ๐ ๐๐๐๐๐โ๐ ๐๐ ๐๐๐๐ ๐๐ ๐๐๐ ๐๐ ๐๐๐ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐ ๐๐๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐๐๐๐. ๐ฐ ๐๐๐ ๐ข๐๐๐๐ ๐๐๐๐๐ ๐ธ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐๐ ๐ ๐๐ ๐๐ ๐๐๐๐๐๐โ๐ ๐๐๐๐๐๐๐๐๐๐๐. ๐๐๐ ๐๐๐๐ ๐ ๐๐๐ ๐ ๐๐๐๐๐๐ข ๐๐๐๐ ๐ ๐๐๐ ๐๐๐๐๐ ๐๐๐ ๐๐๐๐.