Nice game!
4
h
Other reviews7
๐To avoid beating around the bush, this is definitely Stalker, it`s not a disgrace, as many people think, but that's not something worth waiting for so long either, something in between, a rather average sequel that can be skipped if you haven`t even played the original Stalkers, but still worth checking out for fans of the series, it turned out to be a huge cultural event in any case, and the scandals surrounding the game only increased the hype, there won't be such big new releases for CIS gamers for a very, very long time, and I sympathize with those who skipped the game because of prejudices.
I won't describe what Stalker 2 is from a gameplay point of view, because the game is too much the same, you can even call it a soft remake, I will only note the strengths and weaknesses of "๐๐๐๐ซ๐ญ ๐จ๐ ๐๐ก๐๐ซ๐ง๐จ๐๐ฒ๐ฅ":
Firstly, of course, they couldn`t 100% convey that very ATMOSPHERE, although if you play "Shadow of Chernobyl" now, tthen the lack of at least some small details in the Zone will seriously spoil your childhood memories, maybe now you won't even be able to immerse yourself in a stalker adventure because of this, in "Clear Sky" the situation with the atmosphere is already better due to more modern lighting and a couple of new locations, well, I think that if you are playing for the first time, the atmosphere will still captivate you from the menu,with these unique notes playing against the backdrop of the Chernobyl station, so far no game has come close to this, the same Fallout is much weaker in "vibes", but this is only understandable to residents of the post-Soviet space (stalker and the metro series are the only good thing about being born here :) )
So, Stalker 2 uses the already hackneyed "Unreal Engine 5" with all its problems + again doesn`t care about the details on the locations.. so the situation is better than in 2007, but bad for the open world in 2025 (even though this is the first open-world game on 5Unreal), it makes sense to study only key objects,
waitALKER 2 loses here dry, for example, to the "Volga" from Metro: Exodus, which created incredible immersion with its attention to small details, the developers of Metro (4A Gaems), who are the breakaway developers of Stalkach, in principle, surpassed them by 3 heads, but we will not talk about this now,
So, although there are an incredibly huge number of interesting caches here, but all this is killed by their uselessness and the most default content, because enemies that respawn everywhere will take away the same ammunition or a couple of first aid kits that you get from the cache, poking around in locations and swearing because everything in the game is annoying and doesn't let you just wander around / study all things .. On the one hand, this has always been the point of the "Zone" - it should be a super dangerous and unexpected place at every step, the game should be hardcorebut the overall rawness of the release version also breaks this formula, only the first hour of the open world of the game is interesting (not counting the corridor ultra-long introduction-training), when you, like in the original stalker, still don`t understand anything and are looking for at least some kind of gun, running in all 4 directions trying not to die from a couple of shots from bandits, but then the whole game, with proper resource management, you can, as before, play the "merchant simulator" with dragging a constant 100 kilogram overload in a backpack at a snail's pace and grabbing every piece of junk only to sell it all for an extra 1000 rubles to the seller (They left the drop of partially broken weapons from almost every mob, but the frequency of the red state, unfit even for easy money, remained the same)
Therefore, I advise you to study only the near-floor locations, and not, like me, spend more than 150 hours of your time on 100% inspection, it was not worth it, on the one hand it's good that they recreated almost all the original maps, made them much larger, and logically connected them with each other WITHOUT any DOWNLOADS, but the feeling of "asset flip" in many places does not go away.
At the same time, there are things in Stalker 2 that still slightly compensate new atmosphere problems, what can really be called a step forward are the anomalies (and weather conditions), the authors worked inventively on the effects (not as much as indie devs of Pacific Drice, but still), they left not only familiar ones, but also spawn completely new types of anomalous spaces in the fields, only a couple of them will be of interest in terms of gameplay, but visually they are very pleasing to the eye. In general, there are a couple of places that directly cause goosebumps, but this is only the final "Pripyat" and the places near it, well, abandoned buildings are always atmospheric. By the way, what else I remembered, the bunkers in the new graphics are not scary at all, unfortunately.
(I still haven't figured it out, does the Zone change at least about anomalies?? or is everything static..)
The first location "Zalesye" has some very good ambient music, which gives you goosebumps, the composer wrote the tracks on really AAA-level, but not everything is so clear, even the game's music suffers from its main problem - the problem of "๐๐๐๐ฅ๐ ๐๐จ๐ซ ๐ญ๐ก๐ ๐ฌ๐๐ค๐ ๐จ๐ ๐ฌ๐๐๐ฅ๐", all the compositions are incredibly stretched out, in total the album lasts ALMOST 8 HOURS!!! As a result, 90% of it is some kind of background silence.. You see, this is the whole Sralker 2, the authors couldn't cope with filling the huge volumes of the game they had created in their dreams, and no one would have coped, and in order to enjoy these same 10% you have to endure the emptiness, which is even more annoying due to the series' classic bugs and poor optimization (well, seriously, Stalker would not be itself without this), so I conclude that the game, both at release and, I think, with updates, will remain only for fans of the cult original, but will not become cult itself.
From the retained advantages, we have a huge arsenal of all familiar types of armor and weapons, there are simply a gigantic number of types, and an impressive number of modifications for each with visual modifications (the double clip on the GP37 was especially cool), the shooting effect is pleasant, and it`s clear that it is better than the crooked shooting of 2007, they also worked out scripts for cool effects of misfires and jamming, and the same animation doesn`t even get boring, probably the only thing in the game that was made for "immerson", you can also brutally eat canned meat with a knife and open a branded energy drink with a characteristic sound, It's a shame that in the world itself you don't really interact with anything, except for Cutscenes,
And this is another undoubted plus of the second part, firstly, all the classic characters are returned here in a very cheating way, and most of the plot is based around them and references to past, "Scar" here generally tries to cosplay Vaas from Far Cry and almost dance every time in the frame, of course, with a degree of pathos, too much, and you have to understand that 90% of the story is still dialogues, but now very stylishly staged, thanks to the russian director Ilya Naishuller! He seemed to be only engaged in motion capture, but judging by his love for fps films, I think that not only + there is his cameo in the form of a key character (By the way, I saw a video on YouTube that if you leave a lot of physical objects in a room with a cutscene, then the characters' arms and legs will react to all this junk just like real physics, but I haven't checked it myself).
Again, the plot hooks you in well at the beginning, but sags for most of the game, and will only cause nostalgic feelings in those who have already played, but at least it has several endings, several of which are chillingly dark. Overall, it's still a run-of-the-mill script, the personal growth of the main character "Skif" is poorly revealed, it's just that the presentation is more dynamic, and there isn't even any satire on real events, if you were afraid, there are just more elements of the culture of the developers' homeland. And the branching of the story essentially comes down to choosing a faction (instead of the military, now "Varta"), or you can be against everyone, "this action will have consequences" works only at key plot twists, alas, because of this, replaying Stalker 2 is not particularly interesting (nd the classic entry into groups is cut out here),
Yes, there are a couple of moves with side quests, which can sometimes be very cleverly completed, but the same problem of "scale", it`s not always just bring-give, but all of them are worked out only in the initial "Zalesye", which was made for journalists, there is a really dense concentration of tasks per square meter, and theeenn empty fields with one mob for 3 hours of play, but this is still better than the first Stalkers,
The game also does not have, and is unlikely to have, a unique even in 2025 A-Life system, when all mobs walked anywhere in the world on their own business regardless of the player (since the programmer responsible for this left the company), now these are just respawns for the player's back according to scripts, because of which if you try to go around to inspect some place you will have to face the same opponents several times.. probably, there is no need to explain why this is the most annoying factor of the release build,
And of the other minor irritants here are the overly fast and "fat" bloods$ckers, you are supposed to see them by their tracks, but yes, yes, with such a raw optimisation, of course you will see something.. The use of first aid kits and food is now automatically binded, which is good, but at the same time, you always need to allocate a few seconds for animation due to hardcore nature of the game, including taking a weapon out of a holster or aiming, but I already explained why this aspect of the game doesn`t work. To pull out the grenade launcher, you have to press tab and then hold c, this is extremely inconvenient and coupled with the long animation generally kills any benefit of using it. The new interface is generally some kind of bland-template, but tolerable, with cool arts in the notes. Another useful thing I can remember is that now you can insert the Uzi into the pistol slot, the balance of artifacts is normal, Emissions remained, now itโs quite beautiful.
๐In general, is it worth it? The game definitely has some surprises at the beginning and at the end. Should I put up with it if the game starts to irritate me? No. Will they fix everything with patches? It might become more enjoyable, but they are unlikely to fix the โcontentโ problems, so I don't see the point in delaying the game for 5 years (by the way, the DLC with โLimanskโ will be released in more than a year and there is still not even a Deluxe version for sale separately.. and they also promised multiplayer when all this is scary to think about).
p.s. Surprisingly, by the way, Deluxe items do not spoil the balance, and the "additional story quest" is basically just caches with skins.
p.p.s. Unfortunately, there no crazy dreams weren't enough, but according to the plot, our character has nowhere to get nightmares.
๐ ๐ฆ๐๐ฏ ๐๐ผ ๐บ๐ ๐ฆ๐๐ฒ๐ฎ๐บ`๐ ๐๐๐ฟ๐ฎ๐๐ผ๐ฟ`๐ ๐ฝ๐ฎ๐ด๐ฒ: https://store.steampowered.com/curator/41977550
//
ะงัะพะฑั ะฝะต ั ะพะดะธัั ะฒะพะบััะณ ะดะฐ ะพะบะพะปะพ, ััะพ, ะพะฟัะตะดะตะปัะฝะฝะพ - ะกัะฐะปะบะตั, ััะพ ะฝะต ะฟะพะทะพัะธัะต, ะบะฐะบ ััะธัะฐัั ะผะฝะพะณะธะต, ะฝะพ ะธ ะฝะต ัะพ, ัะตะณะพ ััะพะธะปะพ ัะฐะบ ะดะพะปะณะพ ะถะดะฐัั, ััะพ-ัะพ ะผะตะถะดั, ะดะพะฒะพะปัะฝะพ ััะตะดะฝะธะน ัะธะบะฒะตะป, ะบะพัะพััะน ะผะพะถะฝะพ ะฟัะพะนัะธ ะผะธะผะพ, ะตัะปะธ ะฒั ะฝะต ะธะณัะฐะปะธ ะดะฐะถะต ะฒ ะพัะธะณะธะฝะฐะปัะฝัั ะกัะฐะปะบะตัะพะฒ, ะฝะพ ะฒัั ะถะต ััะพะธั ะทะฐัะตะฝะธัั ัะฐะฝะฐัะฐะผ ัะตัะธะธ, ะฟะพะปััะธะปะพัั ะฒ ะปัะฑะพะผ ัะปััะฐะต ะพะณัะพะผะฝะพะต ะบัะปััััะฝะพะต ัะพะฑััะธะต, ะฐ ััะฐัะธ ะฒะพะบััะณ ะธะณัั ัะพะปัะบะพ ัะฐะทะดัะปะธ ะตะณะพ ะตัั ะฑะพะปััะต, ัะฐะบะธั ะณัะพะผะบะธั ะฝะพะฒะธะฝะพะบ ะดะปั ะกะะ-ะณะตะนะผะตัะฐ ะฝะต ะฑัะดะตั ะตัั ะพัะตะฝั-ะพัะตะฝั ะดะพะปะณะพ, ะธ ัะพััะฒััะฒัั ัะตะผ, ะบัะพ ัะบะธะฟะฝัะป ะธะณัั ะธะท-ะทะฐ ะฟัะตะดัะฐัััะดะบะพะฒ (ั ะณะดะต-ัะพ ะผะตัั ั ะธะณัั ะฝะต ะผะพะณ ะฟะพะฒะตัะธัั ััะพ ะพะฝะฐ ะฒััะปะฐ ะฟัะธะบะพะปัะฝะพะต ััะฒััะฒะพ),
ะฏ ะฝะต ะฑัะดั ะพะฟะธััะฒะฐัั, ััะพ ัะฐะบะพะต ะกัะฐะปะบะตั ะฟะพ ะณะตะนะผะฟะปะตั, ะฟะพัะพะผั ััะพ ะธะณัะฐ ัะปะธัะบะพะผ ัะพะถะต ัะฐะผะพะต, ะผะพะถะฝะพ ะดะฐะถะต ะฝะฐะทะฒะฐัั ะผัะณะบะธะผ ัะตะผะตะนะบะพะผ, ะปะธัั ะพัะผะตัั ัะธะปัะฝัะต ะธ ัะปะฐะฑัะต ััะพัะพะฝั "Heart of Chernobyl":
ะะพ-ะฟะตัะฒัั , ะบะพะฝะตัะฝะพ ะถะต ะพะฝะธ ะฝะต ัะผะพะณะปะธ ะฝะฐ 100% ะฟะตัะตะดะฐัั ัั ัะฐะผัั ะะขะะะกะคะะ ะฃ, ั ะพัั ะตัะปะธ ะฒั ัะตะนัะฐั ะฟะพะธะณัะฐะตัะต ะฒ "Shadow of Chernobyl", ัะพ ะพัััะฐั ะฝะตั ะฒะฐัะบะฐ ั ะพัั ะบะฐะบะธั -ัะพ ะผะตะปะบะธั ะดะตัะฐะปะตะน ะฒ ะะพะฝะต ัะธะปัะฝะพ ะฟะพะดะฟะพััะธั ะฒะฐะผ ะฒะฐัะธ ะดะตััะบะธะต ะฒะพัะฟะพะผะธะฝะฐะฝะธั, ะฒะพะทะผะพะถะฝะพ ัะตะนัะฐั ะฒั ะธะท-ะทะฐ ััะพะณะพ ะดะฐะถะต ะฝะต ัะผะพะถะตัะต ะฟะพะณััะทะธัััั ะฒ ััะฐะปะบะตััะบะพะต ะฟัะธะบะปััะตะฝะธะต, ะฒ "Clear Sky" ะถะต ัะธััะฐัะธั ั ะฐัะผะพััะตัะพะน ัะถะต ะฟะพะปัััะต ะทะฐ ัััั ะฑะพะปะตะต ัะพะฒัะตะผะตะฝะฝะพะณะพ ะพัะฒะตัะตะฝะธั ะธ ะฟะฐัั ะฝะพะฒัั ะปะพะบะฐัะธะน, ะฝั ั ะดัะผะฐั, ััะพ ะตัะปะธ ะธะณัะฐัั ะฒะฟะตัะฒัะต, ัะพ ะฐัะผะพััะตัะฐ ะฒัั ัะฐะฒะฝะพ ะทะฐั ะฒะฐัะธั ะฒะฐั ั ะณะพะปะพะฒะพะน ัะถะต ะธะท ะผะตะฝั, ะณะดะต ะทะฒััะฐั ัะต ัะฐะผัะต ะฝะตะฟะพะฒัะพัะธะผัะต ะฝะพัะบะธ ะฝะฐ ัะพะฝะต ะงะตัะฝะพะฑัะปััะบะพะน ััะฐะฝัะธะธ, ะดะพ ัะธั ะฟะพั ะฝะธ ะพะดะฝะฐ ะธะณัะฐ ะธ ะฑะปะธะทะบะพ ัะฐะบะพะณะพ ะฝะต ะดะฐัะธั, ัะพั ะถะต ะคะพะปะปะฐัั ะณะพัะฐะทะดะพ ัะปะฐะฑะตะต ะฟะพ "ะฒะฐะนะฑะฐะผ", ะฝะพ ะฟะพะฝััะฝะพ ััะพ ัะพะปัะบะพ ะถะธัะตะปัะผ ะฟะพัััะพะฒะบะฐ, ะบะพะฝะตัะฝะพ (ััะฐะปะบะตั ะธ ัะตัะธั "ะะตััะพ" - ะตะดะธะฝััะฒะตะฝะฝัะน ะฟะปัั ัะพะดะธัััั ะทะดะตัั ะฒะพะพะฑัะต :) )
ะขะฐะบ ะฒะพั, Stalker 2 ะธัะฟะพะปัะทัะตั ัะถะต ะฝะฐะฑะธะฒัะธะน ะพัะบะพะผะธะฝั "Unreal Engine 5" ัะพ ะฒัะตะผะธ ะตะณะพ ะฟัะพะฑะปะตะผะฐะผะธ + ะพะฟััั ะฝะต ะทะฐะฑะพัะธััั ะพ ะดะตัะฐะปัะฝะพััะธ ะปะพะบะฐัะธะน, ะธะท-ะทะฐ ัะตะณะพ ัะธััะฐัะธั ะปัััะต ัะตะผ ะฒ 2007 ะณะพะดั, ะฝะพ ะฟะปะพั ะพ ะดะปั ะพัะบัััะพะณะพ ะผะธัะฐ ะฒ 2025 (ั ะพัั ััะพ ะธ ะฟะตัะฒะฐั ะธะณัะฐ ะฒ ะพะฟะตะฝ-ะฒะพัะปะดะต ะฝะฐ ะะฝัะธะปะต 5), ะธะทััะฐัั ะธะผะตะตั ัะผััะป ัะพะปัะบะพ ะบะปััะตะฒัะต ะพะฑัะตะบัั,
ะะดะฐะปะบะตั 2 ััั ะฟัะพะธะณััะฒะฐะตั ะฒััั ัั, ะฝะฐะฟัะธะผะตั, "ะะพะปะณะต" ะธะท Metro: Exodus, ะบะพัะพัะฐั ัะพะทะดะฐะฒะฐะปะฐ ะฝะตะฒะตัะพััะฝัั ะธะผะผะตััะธะฒะฝะพััั ัะฒะพะตะน ะฒะฝะธะผะฐัะตะปัะฝะพัััั ะบ ะผะตะปะบะธะผ ะดะตัะฐะปัะผ, ัะฐะทัะฐะฑั ะะตััะพ (4A Gaems), ะบะพัะพััะต ะพัะบะพะปะพะฒัะธะตัั ัะฐะทัะฐะฑั ะกัะฐะปะบะฐัะฐ, ะฒะฟัะธะฝัะธะฟะต, ะฟัะตะฒะทะพัะปะธ ะธั ะฝะฐ 3 ะณะพะปะพะฒั, ะฝะพ ะพะฑ ััะพะผ ัะฐั ะฝะต ะฑัะดะตะผ, ะขะฐะบ ะฒะพั, ั ะพัั ััั, ะฝะฐะฟัะธะผะตั, ะฝะตะฒะตัะพััะฝะพ ะพะณัะพะผะฝะพะต ะบะพะปะธัะตััะฒะพ ะธะฝัะตัะตัะฝัั ัั ัะพะฝะพะฒ, ะฝะพ ะฒัะต ััะพ ัะฑะธัะพ ะธั ะฑะตัะฟะพะปะตะทะฝะพัััั ะธ ะผะฐะบัะธะผะฐะปัะฝะพ ะดะตัะพะปัะฝัะผ ัะพะดะตัะถะฐะฝะธะตะผ, ะฟะพัะพะผั ััะพ ะฟะตัะตัะฟะฐัะฝะธะฒะฐััะธะตัั ะฒะตะทะดะต ะฒัะฐะณะธ ะพัะฝะธะผัั ัั ะถะต ะฐะผัะฝะธัะธั ะธะปะธ ะฟะฐัั ะฐะฟัะตัะตะบ, ะบะพัะพััะต ะฒั ะดะพะฑัะดะตัะต ะธะท ัะฐะนะฝะธะบะฐ, ะดะตัะฐะปัะฝะพ ะบะพะปัะฟะฐััั ะฟะพ ะปะพะบะฐัะธัะผ ะธ ััะณะฐััั ะผะฐัะพะผ ะพั ัะพะณะพ, ััะพ ะฒัะต ะฒ ะธะณัะต ัะฐะทะดัะฐะถะฐะตั ะธ ะฝะต ะดะฐัั ะฟัะพััะพ ะฟะพะฑัะพะดะธัั/ะฟะพะธะทััะฐัั.. ะก ะพะดะฝะพะน ััะพัะพะฝั, ะฒ ััะพะผ ะฒัะตะณะดะฐ ะฑัะปะฐ ะธ ัะพะปั "ะะพะฝั" - ะพะฝะฐ ะดะพะปะถะฝะฐ ะฑััั ััะฟะตั ะพะฟะฐัะฝัะผ ะธ ะฝะตะพะถะธะดะฐะฝะฝัะผ ะผะตััะพะผ ะฝะฐ ะบะฐะถะดะพะผ ัะฐะณั, ะธะณัะฐ ะดะพะปะถะฝะฐ ะฑััั ั ะฐัะดะบะพัะฝะพะน, ะฝะพ ะพะฑัะฐั ัััะพััั ัะตะปะธะทะฝะพะน ะฒะตััะธะธ ัะฐะบะถะต ัะฐะทะฑะธะฒะฐะตั ะธ ััั ัะพัะผัะปั, ะธะฝัะตัะตัะฝะพ ะปะธัั ะฟะตัะฒัะน ัะฐั ะพัะบัััะพะณะพ ะผะธัะฐ ะธะณัั (ะฝะต ััะธัะฐั ะบะพัะธะดะพัะฝะพะต ัะปัััะฐ ะดะพะปะณะพ ะฒัััะฟะปะตะฝะธะต-ะพะฑััะตะฝะธะต ะผะตั ะฐะฝะธะบะฐะผ), ะบะพะณะดะฐ ัั ะบะฐะบ ะฒ ะพัะธะณะธะฝะฐะปัะฝะพะผ ััะฐะปะบะฐัะต ะตัั ะฝะธัะตะณะพ ะฝะต ะฟะพะฝะธะผะฐะตัั ะธ ะธัะตัั ั ะพัั ะบะฐะบัั-ัะพ ะฟััะบั, ะฑะตะณะฐั ะฝะฐ ะฒัะต 4 ััะพัะพะฝั ะฟััะฐััั ะฝะต ัะผะตัะตัั ะพั ะฟะฐัั ะฒััััะตะปะพะฒ ะฑะฐะฝะดัะบะพะฒ, ะฐ ะฒะพั ะฟะพัะพะผ ัะถะต ะฒัั ะธะณัั ะฟัะธ ะณัะฐะผะพัะฝะพะผ ัะฐัะฟัะตะดะตะปะตะฝะธะธ ัะตััััะฐะผะธ ะผะพะถะฝะพ ะบะฐะบ ะธ ัะฐะฝััะต ะพััะณััะฒะฐัั ัะธะผัะปััะพั ัะพัะณะฐัะฐ ั ะฝะพัะตะฝะธะตะผ ัะพ ัะบะพัะพัััั ัะปะธัะบะธ ะฟะพััะพัะฝะฝะพะณะพ ะฟะตัะตะณััะทะฐ ะฟะพ 100 ะบะธะปะพะณัะฐะผะธ ะฒ ััะบะทะฐะบะต ะธ ั ะฐะฟะฐะฝัั ะบะฐะถะดะพะณะพ ะผััะพัะฐ ะปะธัั ะฑั ัะปะธัั ััะพ ะฒัั ะทะฐ ะดะพะฟะพะปะฝะธัะตะปัะฝัะต ะฟะฐัั ะบะพัะฐัะธะบะพะฒ ั ะฟัะพะดะฐะฒัะฐ (ะขัั ะพััะฐะฒะธะปะธ ะฒัะฟะฐะดะตะฝะธั ัะฐััะธัะฝะพ ัะปะพะผะฐะฝะฝัั ะพััะถะตะบ ะฟะพััะธ ั ะบะฐะถะดะพะณะพ ะผะพะฑะฐ, ะฝะพ ะธ ัะฐััะพัะฐ ะฒัะฟะฐะดะตะฝะธั ะบัะฐัะฝะพะณะพ ัะพััะพัะฝะธั, ะฝะตะณะพะดะฝะพะณะพ ะดะฐะถะต ะดะปั ะปัะณะบะธั ะฑะฐะฑะพะบ, ะพััะฐะปะฐัั ะฟัะตะถะฝะตะน)
ะขะฐะบ ััะพ ัะพะฒะตััั ะธะทััะฐัั ัะพะปัะบะพ ะพะบะพะปะพ ััะถะตัะฝัะต ะปะพะบะฐัะธะธ, ะฐ ะฝะต ะบะฐะบ ั ะฟัะพััะฐัั ะฝะฐ 100% ะพัะผะพัั ะฑะพะปะตะต 150 ัะฐัะพะฒ ัะฒะพะตะณะพ ะฒัะตะผะตะฝะธ, ะฝะต ััะพะธะปะพ ะพะฝะพ ัะพะณะพ, ั ะพะดะฝะพะน ััะพัะพะฝั ั ะพัะพัะพ, ััะพ ะพะฝะธ ะฒะพััะพะทะดะฐะปะธ ะฟะพััะธ ะฒัะต ะบะฐััั ะพัะธะณะธะฝะฐะปะฐ, ัะดะตะปะฐะปะธ ะธั ะณะพัะฐะทะดะพ ะฑะพะปััะต, ะธ ะปะพะณะธัะฝะพ ัะฒัะทะฐะปะธ ะธั ะผะตะถะดั ัะพะฑะพะน ะะะ ะฒััะบะธั ะะะะ ะฃะะะ, ะฝะพ ะพัััะตะฝะธั "ะฐััะตั-ัะปะธะฟะฐ" ะฒะพ ะผะฝะพะณะธั ะผะตััะฐั ะฝะต ัั ะพะดะธั.
ะัะธ ััะพะผ ะฒ ะกัะฐะปะบะตั 2 ะตััั ะฒะตัะธ, ะบะพัะพััะต ะฒัะต ะถะต ะฝะตะผะฝะพะณะพ ะบะพะผะฟะตะฝัะธัััั ะฝะพะฒะพะณัะฐัะพะฝะธัััั ะฐัะผะพััะตัั, ัะพ, ััะพ ะฒะพั ะดะตะนััะฒะธัะตะปัะฝะพ ะผะพะถะฝะพ ะฝะฐะทะฒะฐัั ัะฐะณะพะผ ะฒะฟะตััะด - ััะพ ะฐะฝะพะผะฐะปะธะธ (ะธ ะฟะพะณะพะดะฝัะต ััะปะพะฒะธั), ะฐะฒัะพัั ะธะทะพะฑัะตัะฐัะตะปัะฝะพ ะฟะพัะฐะฑะพัะฐะปะธ ะฝะฐะด ัััะตะบัะฐะผะธ (ะฝะต ัะฐะบ ะบะฐะบ ะธะฝะดะธ-ัะฐะทัะฐะฑั Pacific Drice, ะฝะพ ะฒัั ะถะต), ะพััะฐะฒะธะปะธ ะฝะต ัะพะปัะบะพ ะฒัะตะผ ะทะฝะฐะบะพะผัะต, ะฝะพ ะธ ะฝะฐััะบะฐะปะธ ะฟะพ ะฟะพะปัะผ ัะพะฒะตััะตะฝะฝะพ ะฝะพะฒัะต ะฒะธะดั ะฐะฝะพะผะฐะปัะฝัั ะฟัะพัััะฐะฝััะฒ, ะณะตะนะผะฟะปะตะนะฝะพ ัะพะปัะบะพ ะฟะฐัะพัะบั ะฒัะทะพะฒัั ะธะฝัะตัะตั, ะฝะพ ะฒะธะทัะฐะปัะฝะพ ะพัะตะฝั ัะฐะดัะตั ะณะปะฐะท.
ะะพะพะฑัะต ะตััั ะฟะฐัั ะผะตัั ะฟััะผะพ ะฒัะทัะฒะฐััะธั ะผััะฐัะบะธ, ะฝะพ ััะพ ัะพะปัะบะพ ัะธะฝะฐะปัะฝะฐั "ะัะธะฟััั" ะธ ะผะตััะฐ ััะดะพะผ ั ะฝะตะน, ะฝั ะทะฐะฑัะพัะบะธ ะพะฝะธ ะฒัะตะณะดะฐ ะฐัะผะพััะตัะฝัะต. ะััะฐัะธ, ััะพ ะตัั ะฒัะฟะพะผะฝะธะป, ะฑัะฝะบะตัั ะฒ ะฝะพะฒะพะน ะณัะฐัะธะบะต ะฒะพะพะฑัะต ะฝะต ัััะฐัะฝัะต, ะบ ัะพะถะฐะปะตะฝะธั.
(ะฏ ะตัั ะฝะต ะฟะพะฝัะป, ะฐ ะะพะฝะฐ ะพะฝะฐ ะผะตะฝัะตััั ั ะพัั-ะฑั ะฐะฝะพะผะฐะปะธะธ?? ะธะปะธ ะฒัั ััะฐัะธัะฝะพะต..)
ะะฐ ะฟะตัะฒะพะน ะปะพะบะฐัะธะธ "ะะฐะปะตััะต" ะตััั ะตัั ะพัะตะฝั ะฒะฐะนะฑะพะฒะฐั ambient-ะผัะทัะบะฐ, ะฟััะผ ะฟัะพะฑะธัะฐััะฐั ะดะพ ะผััะฐัะตะบ, ะบะพะผะฟะพะทะธัะพั ะฝะฐะฟะธัะฐะป ััะตะบะธ, ะดะตะนััะฒะธัะตะปัะฝะพ AAA-ััะพะฒะฝั, ะฝะพ ะฝะต ะฒัั ัะฐะบ ะพะดะฝะพะทะฝะฐัะฝะพ, ะดะฐะถะต ะผัะทัะบะฐ ะธะณัั ัััะฐะดะฐะตั ะพั ะตั ะณะปะฐะฒะฝะพะน ะฟัะพะฑะปะตะผั - ะฟัะพะฑะปะตะผั "ะะฐัััะฐะฑะฐ ัะฐะดะธ ะผะฐัััะฐะฑะฐ", ะฒัะต ะบะพะผะฟะพะทะธัะธะธ ะฝะตะฒะตัะพััะฝะพ ัะฐัััะฝััั, ะฐ ะพะฑัะธะน ะฐะปัะฑะพะผ ะธะดัั ะะะงะขะ 8 ะงะะกะะ!! ะ ะธัะพะณะต 90% ััะพ ะบะฐะบะฐั-ัะพ ัะพะฝะพะฒะฐั ัะธัะธะฝะฐ.. ะะพะฝะธะผะฐะตัะต, ะฒ ััะพะผ ะฒะตัั ะกัะฐะปะบะตั 2, ะฐะฒัะพัั ะฝะต ัะฟัะฐะฒะธะปะธัั ั ะทะฐะฟะพะปะฝะตะฝะธะตะผ ะพะณัะพะผะฝัั ะพะฑัะตะผะพะฒ ะธะณัั ะบะพัะพััั ะพะฝะธ ะฒ ัะฒะพะธั ะผะตััะฐั ะฝะฐัะฐะฝัะฐะทะธัะพะฒะฐะปะธ, ะดะฐ ะธ ะฝะธะบัะพ ะฑั ะฝะต ัะฟัะฐะฒะธะปัั, ะธ ััะพะฑั ะฟะพะปััะธัั ัะดะพะฒะพะปัััะฒะธะต ะพั ััะธั ัะฐะผัั 10% ัะตะฑะต ะธ ะฝะฐะดะพ ัะตัะฟะตัั ะฟัััะพัั , ะบะพัะพัะฐั ะตัั ะธ ะดะพะฟะพะปะฝะธัะตะปัะฝะพ ัะฐะทะดัะฐะถะฐะตั ะบะปะฐััะธัะตัะบะธะผะธ ะดะปั ัะตัะธะธ ะฑะฐะณะฐะผะธ ะธ ะฟะปะพั ะพะน ะพะฟัะธะผะธะทะฐัะธะตะน (ะฝั ัะตัััะทะฝะพ, ะกัะฐะปะบะตั ะฑะตะท ััะพะณะพ ะฝะต ะฑัะป ะฑั ัะพะฑะพะน), ะฟะพััะพะผั ั ะธ ะดะตะปะฐั ะฒัะฒะพะด, ััะพ ะธะณัะฐ ะบะฐะบ ะฝะฐ ัะตะปะธะทะต, ัะฐะบ ะธ ะดัะผะฐั, ั ะพะฑะฝะพะฒะปะตะฝะธัะผะธ, ะพััะฐะฝะตััั ัะพะปัะบะพ ะดะปั ัะฐะฝะฐัะพะฒ ะบัะปััะพะฒะพะณะพ ะพัะธะณะธะฝะฐะปะฐ, ะฝะพ ัะฐะผะฐ ะบัะปััะพะฒะพะน ะฝะธะบะพะณะดะฐ ะฝะต ััะฐะฝะตั.
ะะท ัะพั ัะฐะฝัะฝะฝัั ะฟะปััะพะฒ ั ะฝะฐั ััั ะพะณัะพะผะฝัะน ะฐััะตะฝะฐะป ะฒัะตั ะทะฝะฐะบะพะผัั ะฒะธะดะพะฒ ะฑัะพะฝะธ, ะธ ะพััะถะธั, ะตะณะพ ะฟัะพััะพ ะณะธะณะฐะฝััะบะพะต ะบะพะปะธัะตััะฒะพ ะฒะธะดะพะฒ, ะธ ะฒะฝััะธัะตะปัะฝะพะต ะบะพะปะธัะตััะฒะพ ะผะพะดะธัะธะบะฐัะธะน ะดะปั ะบะฐะถะดะพะณะพ ั ะฒะฝะตัะฝะธะผะธ ะฒะธะดะพะธะทะผะตะฝะตะฝะธัะผะธ (ะพัะพะฑะตะฝะฝะพ ะฟัะธะบะพะปะพะปะฐ ะดะฒะพะนะฝะฐั ะพะฑะพะนะผะฐ ะฝะฐ GP37), ะธะผะฟะฐะบั ะพั ัััะตะปัะฑั ะฝะตะฟะปะพั ะพะน, ะธ ะฟะพะฝััะฝะพ ััะพ ะปัััะต ะบัะธะฒะพะฒะฐัะพะน ัััะตะปัะฑั 2007 ะณะพะดะฐ, ััั ะตัั ะฟัะพัะฐะฑะพัะฐะปะธ ัะบัะธะฟัั ััะฟะตั-ัััะตะบัะฝัั ะฒะฐัะธะฐะฝัะพะฒ ะพัะตัะตะบ ะธ ะทะฐะบะปะธะฝะธะฒะฐะฝะธั, ะฟัะธััะผ ะพะดะฝะฐ ะธ ัะฐะถะต ะฐะฝะธะผะฐัะธั ะดะฐะถะต ะฝะต ะฝะฐะดะพะตะดะฐะตั, ะฝะฐะฒะตัะฝะพะต, ะตะดะธะฝััะฒะตะฝะฝะพะต, ััะพ ะฒ ะธะณัะต ัะดะตะปะฐะฝะพ ะดะปั "ะธะผะผะตััะธะฒะฝะพััะธ", ะผะพะถะฝะพ ะตัั ะฑัััะฐะปัะฝะพ ะบััะฐัั ะผััะพ ะบะพะฝัะตัะฒ ั ะฝะพะถะธัะบะฐ ะธ ะฒัะบััะฒะฐัั ะฑัะตะฝะดะพะฒัะน ัะฝะตัะณะตะฝัะธะบ ั ั ะฐัะฐะบัะตัะฝัะผ ะทะฒัะบะพะผ, ะถะฐะปะบะพ ะฒ ัะฐะผะพะผ ะผะธัะต ะผะฐะปะพ ั ัะตะผ ะฒะทะฐะธะผะพะดะตะนััะฒัะตัั, ะฒะฝะต ะบะฐัััะตะฝ,
ะ ะฒะพั ััะพ ะตัั ะพะดะธะฝ ะฝะตัะพะผะฝะตะฝะฝัะน ะฟะปัั ะฒัะพัะพะน ัะฐััะธ, ะฒะพ-ะฟะตัะฒัั ััั ะพัะตะฝั ัะธัะตัะฝะพ ะฒะพะทะฒัะฐัะฐัั ะฒัะตั ะบะปะฐััะธัะตัะบะธั ะฟะตััะพะฝะฐะถะตะน, ะธ ะฑะพะปัััั ัะฐััั ััะถะตัะฐ ะฑะฐะทะธัััั ะฒะพะบััะณ ะฝะธั ะธ ะพัััะปะพะบ ะฝะฐ ะฟัะพัะปะพะต, ะจัะฐะผ ััั ะฒะพะพะฑัะต ะฟััะฐะตััั ะบะพัะฟะปะตะธัั ะะฐะฐัะฐ ะธะท ะคะฐั ะัะฐั ะธ ัััั ะปะธ ะฝะต ะฟะปััะฐัั ะบะฐะถะดัะน ัะฐะท ะฒ ะบะฐะดัะต, ั ะณัะฐะดััะพะผ ะฟะฐัะพัะฐ, ะบะพะฝะตัะฝะพ ะถะต, ะฟะตัะตะฑะพั, ะธ ะฝะฐะดะพ ะฟะพะฝะธะผะฐัั, ััะพ 90% ะธััะพัะธะธ - ััะพ ะฒัั ะตัะต ะดะธะฐะปะพะณะธ, ะฝะพ ัะตะฟะตัั ะพัะตะฝั ััะธะปัะฝะพ ะฟะพััะฐะฒะปะตะฝะฝัะต, ะฑะปะฐะณะพะดะฐัั ะ ัััะบะพะผั ัะตะถะธััััั ะะปัะต ะะฐะนััะปะปะตัั ะดะฐ ะดะฐ! ะะฝ ะฒัะพะดะต ะทะฐะฝะธะผะฐะปัั ัะพะปัะบะพ ะทะฐั ะฒะฐัะพะผ ะดะฒะธะถะตะฝะธะน, ะฝะพ ััะดั ะฟะพ ะตะณะพ ะปัะฑะฒะธ ะบ ัะธะปัะผะฐะผ ะพั ะฟะตัะฒะพะณะพ ะปะธัะฐ, ะดัะผะฐั ััะพ ะฝะต ัะพะปัะบะพ + ะฟัะธัััััะฒัะตั ะตะณะพ ะบะฐะผะตะพ ะฒ ะฒะธะดะต ะบะปััะตะฒะพะณะพ ะฟะตััะพะฝะฐะถะฐ (ะััะฐัะธ, ั ะฒะธะดะตะป ะฒะธะดะพั ะฝะฐ ะฎััะฑะต, ััะพ ะตัะปะธ ะพััะฐะฒะธัั ะผะฝะพะณะพ ัะธะทะธัะฝัั ะฟัะตะดะผะตัะพะฒ ะฒ ะบะพะผะฝะฐัะต ั ะบะฐัััะตะฝะพะน, ัะพ ััะบะธ ะธ ะฝะพะณะธ ะฟะตััะพะฝะฐะถะตะน ะฑัะดัั ะฟััะผ ะฟะพ ัะตะฐะปัะฝะพะน ัะธะทะธะบะต ัะตะฐะณะธัะพะฒะฐัั ะฝะฐ ะฒะตัั ััะพั ั ะปะฐะผ, ะฝะพ ัะฐะผ ะฝะต ะฟัะพะฒะตััะป). ะะฟััั ะถะต, ััะถะตั ั ะพัะพัะพ ัะฐะทะณะพะฝัะตััั ะฒ ะฝะฐัะฐะปะต, ะฝะพ ะฟัะพัะตะดะฐะตั ะฑะพะปัััั ัะฐััั ะธะณัั, ะฐ ะฝะพััะฐะปัะณะธัะตัะบะธะต ััะฒััะฒะฐ ะฒัะทะพะฒะตั ัะพะปัะบะพ ั ัะถะต ะธะณัะฐะฒัะธั , ะฝะพ ั ะพัั-ะฑั ะธะผะตะตั ะฝะตัะบะพะปัะบะพ ะบะพะฝัะพะฒะพะบ, ะฝะตัะบะพะปัะบะพ ะธะท ะบะพัะพััั ะดะพ ะดัะพะถะธ ะผัะฐัะฝัะต. ะ ัะตะปะพะผ, ะฒัั ะตัะต ะฟัะพั ะพะดะฝัะบะพะฒัะน ััะตะฝะฐัะธะน, ะปะธัะฝัะน ัะพัั ะณะปะฐะฒะฝะพะณะพ ะณะตัะพั "ะกะบะธัะฐ" ัะฐัะบััั ะฟะปะพั ะพ, ะฟัะพััะพ ะฟะพะดะฐัะฐ ะฟะพะดะธะฝะฐะผะธะฝัะตะต, ะธ ะดะฐะถะต ะฝะตั ะบะฐะบะพะน-ัะพ ัะฐัะธัั ะฝะฐ ัะตะฐะปัะฝัะต ัะพะฑััะธั, ะตัะปะธ ะฒั ะฑะพัะปะธัั, ะปะธัั ัะปะตะผะตะฝัะพะฒ ะบัะปััััั ัะพะดะธะฝั ัะฐะทัะฐะฑะพะฒ ััะฐะปะพ ะฑะพะปััะต. ะ ะฒะพั ัะฐะทะฒะตัะฒะปัะฝะฝะพััั ะธััะพัะธะธ ะฟะพ ัััะธ ัะฒะพะดะธััั ะบ ะฒัะฑะพัั ะณััะฟะฟะธัะพะฒะบะธ (ะฒะผะตััะพ ะฒะพะตะฝะฝัั ัะตะฟะตัั "ะะฐััะฐ"), ะปะธะฑะพ ะผะพะถะฝะพ ะฑััั ะฟัะพัะธะฒ ะฒัะตั , "ััะพ ะดะตะนััะฒะธะต ะฑัะดะตั ะธะผะตัั ะฟะพัะปะตะดััะฒะธะต" ัะฐะฑะพัะฐะตั ัะพะปัะบะพ ะฟัะธ ะบะปััะตะฒัั ััะถะตัะฝัั ะฟะพะฒะพัะพัะฐั , ัะฒั, ะธะท-ะทะฐ ััะพะณะพ ะฟะตัะตะฟัะพั ะพะดะธัั ะกัะฐะปะบะตั 2 ะพัะพะฑะพ ะฝะตะธะฝัะตัะตัะฝะพ, ะบะปะฐััะธัะตัะบะพะณะพ ะฒัััะฟะปะตะฝะธั ะฒ ะปัะฑัั ะณััะฟะฟะธัะพะฒะบั ััั ะฝะตัั,
ะะฐ, ัะฐะผ ะตััั ะฟะฐัั ะฟัะธะบะพะปะพะฒ ั ัะฐะนะด-ะบะฒะตััะฐะผะธ, ะบะพัะพััะต ะธะฝะพะณะดะฐ ะผะพะถะฝะพ ะพัะตะฝั ั ะธััะพ ะฟัะพะนัะธ, ะฝะพ ัะฐ ะถะต ัะฐะผะฐั ะฟัะพะฑะปะตะผะฐ "ะผะฐัััะฐะฑะฐ", ััะพ ะฝะต ะฒัะตะณะดะฐ ะฟัะพััะพ ะฟัะธะฝะตัะธ-ะฟะพะดะฐะน, ะฝะพ ะฒัะต ะพะฝะธ ะฟัะพัะฐะฑะพัะฐะฝั ัะพะปัะบะพ ะฒ ะฝะฐัะฐะปัะฝะพะผ "ะะฐะปะตััะต", ะบะพัะพัะฐั ะฑัะปะฐ ัะดะตะปะฐะฝะฐ ะดะปั ะถััะฝะฐะปะธััะพะฒ, ัะฐะผ ะฟััะผ ะฟะปะพัะฝะฐั ะบะพะฝัะตะฝััะฐัะธั ะทะฐะดะฐะฝะธะน ะฝะฐ ะบะฒะฐะดัะฐัะฝัะน ะผะตัั, ะฐ ะดะฐะปััะต ะฟััััะต ะฟะพะปั c ะพะดะฝะธะผ ะบะฐะปะตะบะพะน ะฝะฐ 3 ัะฐัะฐ ะธะณัั, ะฝะพ ััะพ ะฒัั ะตัะต ะฟะพะปัััะต ัะตะผ ะฟะตัะฒัั ะกัะฐะปะบะฐัะตะน, ะขะฐะบะถะต ะฒ ะธะณัะต ะฝะตัั, ะธ ะฒััะดะปะธ ะฑัะดะตั ะดะพ ัะธั ะฟะพั ัะฝะธะบะฐะปัะฝะพะน ัะธััะตะผั A-Life, ะบะพะณะดะฐ ะฒัะต ะผะพะฑั ั ะพะดะธะปะธ ะฒ ะปัะฑะพะน ัะพัะบะต ะผะธัะฐ ะฟะพ ัะฒะพะธะผ ะดะตะปะฐะผ ะฝะตะทะฐะฒะธัะธะผะพ ะพั ะธะณัะพะบะฐ (ัะฐะบ ะบะฐะบ ะพัะฒะตัะฐะฒัะธะน ะทะฐ ััะพ ะฟัะพะณัะฐะผะผะธัั ะฟะพะบะธะฝัะป ะบะพะผะฟะฐะฝะธั), ัะตะฟะตัั ััะพ ะฟัะพััะพ ัะตัะฟะฐัะฝั ะทะฐ ัะฟะธะฝะพะน ะธะณัะพะบะฐ ะฟะพ ัะบัะธะฟัะฐะผ, ะธะท-ะทะฐ ัะตะณะพ ะตัะปะธ ะฟััะฐะตัััั ะพะฑะพะนัะธ ะฟะพ ะบััะณั ะพัะผะพััะตัั ะบะฐะบะพะต-ัะพ ะผะตััะพ ะฟัะธะดัััั ััะพะปะบะฝััััั ั ะพะดะฝะธะผะธ ะธ ัะตะผะธ ะถะต ะฟัะพัะธะฒะฝะธะบะฐะผะธ ะฝะตัะบะพะปัะบะพ ัะฐะท.. ะฝะฐะฒะตัะฝะพะต, ะฝะต ะฝะฐะดะพ ะพะฑัััะฝััั ะฟะพัะตะผั ััะพ ัะฐะผัะน ะฑะตัััะธะน ัะฐะบัะพั ัะตะปะธะทะฝะพะณะพ ะฑะธะปะดะฐ,
ะ ะธะท ะดััะณะธั ะผะตะปะบะธั ัะฐะทะดัะฐะถะธัะตะปะตะน ััั ัะตัะตัััั ะฑัััััะต ะธ "ะถะธัะฝัะต" ะบัะพะฒะพัะพัั, ัั ัะธะฟะพ ะดะพะปะถะตะฝ ะฒะธะดะตัั ะธั ะฟะพ ัะปะตะดะฐะผ, ะฝะพ ะดะฐ ะดะฐ ั ัะฐะบะพะน ัััะพัััั ะธะณัั, ะบะพะฝะตัะฝะพ ะฑะปะธะฝ ัะฒะธะดะธัั ััะพ-ะฝะธะฑัะดั.. ะัะธะผะตะฝะตะฝะธะต ะฐะฟัะตัะตะบ ะธ ะตะดั ัะตะฟะตัั ะฐะฒัะพะผะฐัะธัะตัะบะธ ะทะฐะฑะธะฝะดะตะฝะพ, ะฝะพ ะฟัะธ ััะพะผ ะฝะฐะดะพ ะฒัะตะณะดะฐ ะฝะตัะบะพะปัะบะพ ัะตะบัะฝะด ะทะฐะบะปะฐะดัะฒะฐัั ะฝะฐ ะฐะฝะธะผะฐัะธั ะดะปั ั ะฐัะดะบะพัะฝะพััะธ, ะฒ ัะพะผ ัะธัะปะต ะฝะฐ ะดะพััะฐะฒะฐะฝะธะต ะธะท ะบะพะฑััั ะพััะถะธั ะธะปะธ ะฟัะธัะตะปะธะฒะฐะฝะธั, ะฝะพ ั ัะถะต ะพะฑัััะฝัะป ะฟะพัะตะผั ััะพั ะฐัะฟะตะบั ะธะณัั ะฝะต ัะฐะฑะพัะฐะตั. ะงัะพะฑั ะฒััะฐัะธัั ะฟะพะดััะฒะพะปัะฝะธะบ ะฝะฐะดะพ ะฝะฐะถะฐัั ะฝะฐ tab ะธ ะฟะพัะพะผ ัะดะตัะถะธะฒะฐั c, ััะพ ะบัะฐะนะฝะต ะฝะตัะดะพะฑะฝะพ ะธ ะฒ ะบัะฟะต ั ะดะพะปะณะพะน ะฐะฝะธะผะฐัะธะตะน ะฒะพะพะฑัะต ัะฑะธะฒะฐะตั ะปัะฑัั ะฒัะณะพะดั ะธัะฟะพะปัะทะพะฒะฐะฝะธั. ะะพะฒัะน ะธะฝัะตััะตะนั ะฒะพะพะฑัะต ะบะฐะบะพะน-ัะพ ะฟัะตัะฝะพ-ัะฐะฑะปะพะฝะฝัะน, ะฝะพ ัะตัะฟะธะผัะน, ะทะฐัะพ ะฒ ะทะฐะฟะธัะบะฐั ะฟัะธะบะพะปัะฝัะต ะฐััั. ะัั ะธะท ะฟะพะปะตะทะฝะพะณะพ ะผะพะณั ะฒัะฟะพะผะฝะธัั, ััะพ ัะตะฟะตัั "ะฃะทะธ" ะผะพะถะฝะพ ะฒ ัะปะพั ะฟะธััะพะปะตัะฐ ะฒััะฐะฒะธัั, ะฑะฐะปะฐะฝั ะฐััะตัะฐะบัะพะฒ ะฝะพัะผะฐะปัะฝัะน, ะฒัะฑัะพัั ะพััะฐะปะธัั, ัะตะฟะตัั ะดะพััะฐัะพัะฝะพ ะบัะฐัะธะฒะพ.
๐ะ ะพะฑัะตะผ, ััะพะธั ะปะธ ะพะฝะฐ ัะพะณะพ? ะะฟัะตะดะตะปัะฝะฝะพ, ะตััั ัััะฟัะธะทั ะฒ ะฝะฐัะฐะปะต ะธ ะบะพะฝัะต. ะกัะพะธั ะปะธ ะตั ัะตัะฟะตัั, ะตัะปะธ ะธะณัะฐ ะฝะฐัะธะฝะฐะตั ัะฐะทะดัะฐะถะฐัั? ะะตั. ะะพัะธะบััั ะปะธ ะฒัั ะฟะฐััะฐะผะธ? ะัะธััะฝะตะน ััะฐัั ะผะพะถะตั, ะฝะพ "ะบะพะฝัะตะฝัะฝัะต" ะฟัะพะฑะปะตะผั ะพะฝะธ ะฒััะดะปะธ ะธัะฟัะฐะฒัั, ัะฐะบ ััะพ ะธ ะพัะบะปะฐะดัะฒะฐัั ะธะณัั ะฝะฐ 5 ะปะตั ั ะฝะต ะฒะธะถั ัะผััะปะฐ (ะบััะฐัะธ, ะดะปั ั "ะะธะผะฐะฝัะบะพะผ" ะฒัะนะดะตั ะฑะพะปััะต ัะตะผ ัะตัะตะท ะณะพะด ะธ ะดะพ ัะธั ะฟะพั ะดะฐะถะต ะะตะปัะบั-ะฒะตััะธะธ ะฝะตั ะดะปั ะฟัะพะดะฐะถะธ ะพัะดะตะปัะฝะพ.. ะฐ ะฒะตะดั ัะฐะผ ะตัั ะผัะปััะธะฟะปะตะตั ะพะฑะตัะฐะปะธ).
p.s. ะฃะดะธะฒะธัะตะปัะฝะพ, ะบััะฐัะธ, ะฝะพ ะะตะปัะบั-ะฒะตัะธ ะฝะต ะฟะพัััั ะฑะฐะปะฐะฝั, ะฐ "ะดะพะฟะพะปะฝะธัะตะปัะฝัะน ััะถะตัะฝัะน ะบะฒะตัั" - ััะพ ะฟะพ ัััะธ ะฟัะพััะพ ัะฐะนะฝะธะบะธ ัะพ ัะบะธะฝัะธะบะฐะผะธ. p.p.s. ะฃะฒั, ะฝะต ั ะฒะฐัะธะปะพ ะฑะตะทัะผะฝัั ัะฝะพะฒ ัะพะฑะฐะบะธ, ะฝะพ ะฟะพ ััะถะตัั ั ะฝะฐัะตะณะพ ะฟะตััะพะฝะฐะถะฐ ะพัะพะฑะพ ะบะพัะผะฐัะฐะผ ะธ ะฝะตะพัะบัะดะฐ ะฒะทััััั. ๐ะะพะดะดะตัะถะธัะต ะฟะพะดะฟะธัะบะพะน ะฝะฐ ะััะฐัะพัะบั ะกัะธะผ: https://store.steampowered.com/curator/37365104
I won't describe what Stalker 2 is from a gameplay point of view, because the game is too much the same, you can even call it a soft remake, I will only note the strengths and weaknesses of "๐๐๐๐ซ๐ญ ๐จ๐ ๐๐ก๐๐ซ๐ง๐จ๐๐ฒ๐ฅ":
Firstly, of course, they couldn`t 100% convey that very ATMOSPHERE, although if you play "Shadow of Chernobyl" now, tthen the lack of at least some small details in the Zone will seriously spoil your childhood memories, maybe now you won't even be able to immerse yourself in a stalker adventure because of this, in "Clear Sky" the situation with the atmosphere is already better due to more modern lighting and a couple of new locations, well, I think that if you are playing for the first time, the atmosphere will still captivate you from the menu,with these unique notes playing against the backdrop of the Chernobyl station, so far no game has come close to this, the same Fallout is much weaker in "vibes", but this is only understandable to residents of the post-Soviet space (stalker and the metro series are the only good thing about being born here :) )
So, Stalker 2 uses the already hackneyed "Unreal Engine 5" with all its problems + again doesn`t care about the details on the locations.. so the situation is better than in 2007, but bad for the open world in 2025 (even though this is the first open-world game on 5Unreal), it makes sense to study only key objects,
waitALKER 2 loses here dry, for example, to the "Volga" from Metro: Exodus, which created incredible immersion with its attention to small details, the developers of Metro (4A Gaems), who are the breakaway developers of Stalkach, in principle, surpassed them by 3 heads, but we will not talk about this now,
So, although there are an incredibly huge number of interesting caches here, but all this is killed by their uselessness and the most default content, because enemies that respawn everywhere will take away the same ammunition or a couple of first aid kits that you get from the cache, poking around in locations and swearing because everything in the game is annoying and doesn't let you just wander around / study all things .. On the one hand, this has always been the point of the "Zone" - it should be a super dangerous and unexpected place at every step, the game should be hardcorebut the overall rawness of the release version also breaks this formula, only the first hour of the open world of the game is interesting (not counting the corridor ultra-long introduction-training), when you, like in the original stalker, still don`t understand anything and are looking for at least some kind of gun, running in all 4 directions trying not to die from a couple of shots from bandits, but then the whole game, with proper resource management, you can, as before, play the "merchant simulator" with dragging a constant 100 kilogram overload in a backpack at a snail's pace and grabbing every piece of junk only to sell it all for an extra 1000 rubles to the seller (They left the drop of partially broken weapons from almost every mob, but the frequency of the red state, unfit even for easy money, remained the same)
Therefore, I advise you to study only the near-floor locations, and not, like me, spend more than 150 hours of your time on 100% inspection, it was not worth it, on the one hand it's good that they recreated almost all the original maps, made them much larger, and logically connected them with each other WITHOUT any DOWNLOADS, but the feeling of "asset flip" in many places does not go away.
At the same time, there are things in Stalker 2 that still slightly compensate new atmosphere problems, what can really be called a step forward are the anomalies (and weather conditions), the authors worked inventively on the effects (not as much as indie devs of Pacific Drice, but still), they left not only familiar ones, but also spawn completely new types of anomalous spaces in the fields, only a couple of them will be of interest in terms of gameplay, but visually they are very pleasing to the eye. In general, there are a couple of places that directly cause goosebumps, but this is only the final "Pripyat" and the places near it, well, abandoned buildings are always atmospheric. By the way, what else I remembered, the bunkers in the new graphics are not scary at all, unfortunately.
(I still haven't figured it out, does the Zone change at least about anomalies?? or is everything static..)
The first location "Zalesye" has some very good ambient music, which gives you goosebumps, the composer wrote the tracks on really AAA-level, but not everything is so clear, even the game's music suffers from its main problem - the problem of "๐๐๐๐ฅ๐ ๐๐จ๐ซ ๐ญ๐ก๐ ๐ฌ๐๐ค๐ ๐จ๐ ๐ฌ๐๐๐ฅ๐", all the compositions are incredibly stretched out, in total the album lasts ALMOST 8 HOURS!!! As a result, 90% of it is some kind of background silence.. You see, this is the whole Sralker 2, the authors couldn't cope with filling the huge volumes of the game they had created in their dreams, and no one would have coped, and in order to enjoy these same 10% you have to endure the emptiness, which is even more annoying due to the series' classic bugs and poor optimization (well, seriously, Stalker would not be itself without this), so I conclude that the game, both at release and, I think, with updates, will remain only for fans of the cult original, but will not become cult itself.
From the retained advantages, we have a huge arsenal of all familiar types of armor and weapons, there are simply a gigantic number of types, and an impressive number of modifications for each with visual modifications (the double clip on the GP37 was especially cool), the shooting effect is pleasant, and it`s clear that it is better than the crooked shooting of 2007, they also worked out scripts for cool effects of misfires and jamming, and the same animation doesn`t even get boring, probably the only thing in the game that was made for "immerson", you can also brutally eat canned meat with a knife and open a branded energy drink with a characteristic sound, It's a shame that in the world itself you don't really interact with anything, except for Cutscenes,
And this is another undoubted plus of the second part, firstly, all the classic characters are returned here in a very cheating way, and most of the plot is based around them and references to past, "Scar" here generally tries to cosplay Vaas from Far Cry and almost dance every time in the frame, of course, with a degree of pathos, too much, and you have to understand that 90% of the story is still dialogues, but now very stylishly staged, thanks to the russian director Ilya Naishuller! He seemed to be only engaged in motion capture, but judging by his love for fps films, I think that not only + there is his cameo in the form of a key character (By the way, I saw a video on YouTube that if you leave a lot of physical objects in a room with a cutscene, then the characters' arms and legs will react to all this junk just like real physics, but I haven't checked it myself).
Again, the plot hooks you in well at the beginning, but sags for most of the game, and will only cause nostalgic feelings in those who have already played, but at least it has several endings, several of which are chillingly dark. Overall, it's still a run-of-the-mill script, the personal growth of the main character "Skif" is poorly revealed, it's just that the presentation is more dynamic, and there isn't even any satire on real events, if you were afraid, there are just more elements of the culture of the developers' homeland. And the branching of the story essentially comes down to choosing a faction (instead of the military, now "Varta"), or you can be against everyone, "this action will have consequences" works only at key plot twists, alas, because of this, replaying Stalker 2 is not particularly interesting (nd the classic entry into groups is cut out here),
Yes, there are a couple of moves with side quests, which can sometimes be very cleverly completed, but the same problem of "scale", it`s not always just bring-give, but all of them are worked out only in the initial "Zalesye", which was made for journalists, there is a really dense concentration of tasks per square meter, and theeenn empty fields with one mob for 3 hours of play, but this is still better than the first Stalkers,
The game also does not have, and is unlikely to have, a unique even in 2025 A-Life system, when all mobs walked anywhere in the world on their own business regardless of the player (since the programmer responsible for this left the company), now these are just respawns for the player's back according to scripts, because of which if you try to go around to inspect some place you will have to face the same opponents several times.. probably, there is no need to explain why this is the most annoying factor of the release build,
And of the other minor irritants here are the overly fast and "fat" bloods$ckers, you are supposed to see them by their tracks, but yes, yes, with such a raw optimisation, of course you will see something.. The use of first aid kits and food is now automatically binded, which is good, but at the same time, you always need to allocate a few seconds for animation due to hardcore nature of the game, including taking a weapon out of a holster or aiming, but I already explained why this aspect of the game doesn`t work. To pull out the grenade launcher, you have to press tab and then hold c, this is extremely inconvenient and coupled with the long animation generally kills any benefit of using it. The new interface is generally some kind of bland-template, but tolerable, with cool arts in the notes. Another useful thing I can remember is that now you can insert the Uzi into the pistol slot, the balance of artifacts is normal, Emissions remained, now itโs quite beautiful.
๐In general, is it worth it? The game definitely has some surprises at the beginning and at the end. Should I put up with it if the game starts to irritate me? No. Will they fix everything with patches? It might become more enjoyable, but they are unlikely to fix the โcontentโ problems, so I don't see the point in delaying the game for 5 years (by the way, the DLC with โLimanskโ will be released in more than a year and there is still not even a Deluxe version for sale separately.. and they also promised multiplayer when all this is scary to think about).
p.s. Surprisingly, by the way, Deluxe items do not spoil the balance, and the "additional story quest" is basically just caches with skins.
p.p.s. Unfortunately, there no crazy dreams weren't enough, but according to the plot, our character has nowhere to get nightmares.
๐ ๐ฆ๐๐ฏ ๐๐ผ ๐บ๐ ๐ฆ๐๐ฒ๐ฎ๐บ`๐ ๐๐๐ฟ๐ฎ๐๐ผ๐ฟ`๐ ๐ฝ๐ฎ๐ด๐ฒ: https://store.steampowered.com/curator/41977550
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ะงัะพะฑั ะฝะต ั ะพะดะธัั ะฒะพะบััะณ ะดะฐ ะพะบะพะปะพ, ััะพ, ะพะฟัะตะดะตะปัะฝะฝะพ - ะกัะฐะปะบะตั, ััะพ ะฝะต ะฟะพะทะพัะธัะต, ะบะฐะบ ััะธัะฐัั ะผะฝะพะณะธะต, ะฝะพ ะธ ะฝะต ัะพ, ัะตะณะพ ััะพะธะปะพ ัะฐะบ ะดะพะปะณะพ ะถะดะฐัั, ััะพ-ัะพ ะผะตะถะดั, ะดะพะฒะพะปัะฝะพ ััะตะดะฝะธะน ัะธะบะฒะตะป, ะบะพัะพััะน ะผะพะถะฝะพ ะฟัะพะนัะธ ะผะธะผะพ, ะตัะปะธ ะฒั ะฝะต ะธะณัะฐะปะธ ะดะฐะถะต ะฒ ะพัะธะณะธะฝะฐะปัะฝัั ะกัะฐะปะบะตัะพะฒ, ะฝะพ ะฒัั ะถะต ััะพะธั ะทะฐัะตะฝะธัั ัะฐะฝะฐัะฐะผ ัะตัะธะธ, ะฟะพะปััะธะปะพัั ะฒ ะปัะฑะพะผ ัะปััะฐะต ะพะณัะพะผะฝะพะต ะบัะปััััะฝะพะต ัะพะฑััะธะต, ะฐ ััะฐัะธ ะฒะพะบััะณ ะธะณัั ัะพะปัะบะพ ัะฐะทะดัะปะธ ะตะณะพ ะตัั ะฑะพะปััะต, ัะฐะบะธั ะณัะพะผะบะธั ะฝะพะฒะธะฝะพะบ ะดะปั ะกะะ-ะณะตะนะผะตัะฐ ะฝะต ะฑัะดะตั ะตัั ะพัะตะฝั-ะพัะตะฝั ะดะพะปะณะพ, ะธ ัะพััะฒััะฒัั ัะตะผ, ะบัะพ ัะบะธะฟะฝัะป ะธะณัั ะธะท-ะทะฐ ะฟัะตะดัะฐัััะดะบะพะฒ (ั ะณะดะต-ัะพ ะผะตัั ั ะธะณัั ะฝะต ะผะพะณ ะฟะพะฒะตัะธัั ััะพ ะพะฝะฐ ะฒััะปะฐ ะฟัะธะบะพะปัะฝะพะต ััะฒััะฒะพ),
ะฏ ะฝะต ะฑัะดั ะพะฟะธััะฒะฐัั, ััะพ ัะฐะบะพะต ะกัะฐะปะบะตั ะฟะพ ะณะตะนะผะฟะปะตั, ะฟะพัะพะผั ััะพ ะธะณัะฐ ัะปะธัะบะพะผ ัะพะถะต ัะฐะผะพะต, ะผะพะถะฝะพ ะดะฐะถะต ะฝะฐะทะฒะฐัั ะผัะณะบะธะผ ัะตะผะตะนะบะพะผ, ะปะธัั ะพัะผะตัั ัะธะปัะฝัะต ะธ ัะปะฐะฑัะต ััะพัะพะฝั "Heart of Chernobyl":
ะะพ-ะฟะตัะฒัั , ะบะพะฝะตัะฝะพ ะถะต ะพะฝะธ ะฝะต ัะผะพะณะปะธ ะฝะฐ 100% ะฟะตัะตะดะฐัั ัั ัะฐะผัั ะะขะะะกะคะะ ะฃ, ั ะพัั ะตัะปะธ ะฒั ัะตะนัะฐั ะฟะพะธะณัะฐะตัะต ะฒ "Shadow of Chernobyl", ัะพ ะพัััะฐั ะฝะตั ะฒะฐัะบะฐ ั ะพัั ะบะฐะบะธั -ัะพ ะผะตะปะบะธั ะดะตัะฐะปะตะน ะฒ ะะพะฝะต ัะธะปัะฝะพ ะฟะพะดะฟะพััะธั ะฒะฐะผ ะฒะฐัะธ ะดะตััะบะธะต ะฒะพัะฟะพะผะธะฝะฐะฝะธั, ะฒะพะทะผะพะถะฝะพ ัะตะนัะฐั ะฒั ะธะท-ะทะฐ ััะพะณะพ ะดะฐะถะต ะฝะต ัะผะพะถะตัะต ะฟะพะณััะทะธัััั ะฒ ััะฐะปะบะตััะบะพะต ะฟัะธะบะปััะตะฝะธะต, ะฒ "Clear Sky" ะถะต ัะธััะฐัะธั ั ะฐัะผะพััะตัะพะน ัะถะต ะฟะพะปัััะต ะทะฐ ัััั ะฑะพะปะตะต ัะพะฒัะตะผะตะฝะฝะพะณะพ ะพัะฒะตัะตะฝะธั ะธ ะฟะฐัั ะฝะพะฒัั ะปะพะบะฐัะธะน, ะฝั ั ะดัะผะฐั, ััะพ ะตัะปะธ ะธะณัะฐัั ะฒะฟะตัะฒัะต, ัะพ ะฐัะผะพััะตัะฐ ะฒัั ัะฐะฒะฝะพ ะทะฐั ะฒะฐัะธั ะฒะฐั ั ะณะพะปะพะฒะพะน ัะถะต ะธะท ะผะตะฝั, ะณะดะต ะทะฒััะฐั ัะต ัะฐะผัะต ะฝะตะฟะพะฒัะพัะธะผัะต ะฝะพัะบะธ ะฝะฐ ัะพะฝะต ะงะตัะฝะพะฑัะปััะบะพะน ััะฐะฝัะธะธ, ะดะพ ัะธั ะฟะพั ะฝะธ ะพะดะฝะฐ ะธะณัะฐ ะธ ะฑะปะธะทะบะพ ัะฐะบะพะณะพ ะฝะต ะดะฐัะธั, ัะพั ะถะต ะคะพะปะปะฐัั ะณะพัะฐะทะดะพ ัะปะฐะฑะตะต ะฟะพ "ะฒะฐะนะฑะฐะผ", ะฝะพ ะฟะพะฝััะฝะพ ััะพ ัะพะปัะบะพ ะถะธัะตะปัะผ ะฟะพัััะพะฒะบะฐ, ะบะพะฝะตัะฝะพ (ััะฐะปะบะตั ะธ ัะตัะธั "ะะตััะพ" - ะตะดะธะฝััะฒะตะฝะฝัะน ะฟะปัั ัะพะดะธัััั ะทะดะตัั ะฒะพะพะฑัะต :) )
ะขะฐะบ ะฒะพั, Stalker 2 ะธัะฟะพะปัะทัะตั ัะถะต ะฝะฐะฑะธะฒัะธะน ะพัะบะพะผะธะฝั "Unreal Engine 5" ัะพ ะฒัะตะผะธ ะตะณะพ ะฟัะพะฑะปะตะผะฐะผะธ + ะพะฟััั ะฝะต ะทะฐะฑะพัะธััั ะพ ะดะตัะฐะปัะฝะพััะธ ะปะพะบะฐัะธะน, ะธะท-ะทะฐ ัะตะณะพ ัะธััะฐัะธั ะปัััะต ัะตะผ ะฒ 2007 ะณะพะดั, ะฝะพ ะฟะปะพั ะพ ะดะปั ะพัะบัััะพะณะพ ะผะธัะฐ ะฒ 2025 (ั ะพัั ััะพ ะธ ะฟะตัะฒะฐั ะธะณัะฐ ะฒ ะพะฟะตะฝ-ะฒะพัะปะดะต ะฝะฐ ะะฝัะธะปะต 5), ะธะทััะฐัั ะธะผะตะตั ัะผััะป ัะพะปัะบะพ ะบะปััะตะฒัะต ะพะฑัะตะบัั,
ะะดะฐะปะบะตั 2 ััั ะฟัะพะธะณััะฒะฐะตั ะฒััั ัั, ะฝะฐะฟัะธะผะตั, "ะะพะปะณะต" ะธะท Metro: Exodus, ะบะพัะพัะฐั ัะพะทะดะฐะฒะฐะปะฐ ะฝะตะฒะตัะพััะฝัั ะธะผะผะตััะธะฒะฝะพััั ัะฒะพะตะน ะฒะฝะธะผะฐัะตะปัะฝะพัััั ะบ ะผะตะปะบะธะผ ะดะตัะฐะปัะผ, ัะฐะทัะฐะฑั ะะตััะพ (4A Gaems), ะบะพัะพััะต ะพัะบะพะปะพะฒัะธะตัั ัะฐะทัะฐะฑั ะกัะฐะปะบะฐัะฐ, ะฒะฟัะธะฝัะธะฟะต, ะฟัะตะฒะทะพัะปะธ ะธั ะฝะฐ 3 ะณะพะปะพะฒั, ะฝะพ ะพะฑ ััะพะผ ัะฐั ะฝะต ะฑัะดะตะผ, ะขะฐะบ ะฒะพั, ั ะพัั ััั, ะฝะฐะฟัะธะผะตั, ะฝะตะฒะตัะพััะฝะพ ะพะณัะพะผะฝะพะต ะบะพะปะธัะตััะฒะพ ะธะฝัะตัะตัะฝัั ัั ัะพะฝะพะฒ, ะฝะพ ะฒัะต ััะพ ัะฑะธัะพ ะธั ะฑะตัะฟะพะปะตะทะฝะพัััั ะธ ะผะฐะบัะธะผะฐะปัะฝะพ ะดะตัะพะปัะฝัะผ ัะพะดะตัะถะฐะฝะธะตะผ, ะฟะพัะพะผั ััะพ ะฟะตัะตัะฟะฐัะฝะธะฒะฐััะธะตัั ะฒะตะทะดะต ะฒัะฐะณะธ ะพัะฝะธะผัั ัั ะถะต ะฐะผัะฝะธัะธั ะธะปะธ ะฟะฐัั ะฐะฟัะตัะตะบ, ะบะพัะพััะต ะฒั ะดะพะฑัะดะตัะต ะธะท ัะฐะนะฝะธะบะฐ, ะดะตัะฐะปัะฝะพ ะบะพะปัะฟะฐััั ะฟะพ ะปะพะบะฐัะธัะผ ะธ ััะณะฐััั ะผะฐัะพะผ ะพั ัะพะณะพ, ััะพ ะฒัะต ะฒ ะธะณัะต ัะฐะทะดัะฐะถะฐะตั ะธ ะฝะต ะดะฐัั ะฟัะพััะพ ะฟะพะฑัะพะดะธัั/ะฟะพะธะทััะฐัั.. ะก ะพะดะฝะพะน ััะพัะพะฝั, ะฒ ััะพะผ ะฒัะตะณะดะฐ ะฑัะปะฐ ะธ ัะพะปั "ะะพะฝั" - ะพะฝะฐ ะดะพะปะถะฝะฐ ะฑััั ััะฟะตั ะพะฟะฐัะฝัะผ ะธ ะฝะตะพะถะธะดะฐะฝะฝัะผ ะผะตััะพะผ ะฝะฐ ะบะฐะถะดะพะผ ัะฐะณั, ะธะณัะฐ ะดะพะปะถะฝะฐ ะฑััั ั ะฐัะดะบะพัะฝะพะน, ะฝะพ ะพะฑัะฐั ัััะพััั ัะตะปะธะทะฝะพะน ะฒะตััะธะธ ัะฐะบะถะต ัะฐะทะฑะธะฒะฐะตั ะธ ััั ัะพัะผัะปั, ะธะฝัะตัะตัะฝะพ ะปะธัั ะฟะตัะฒัะน ัะฐั ะพัะบัััะพะณะพ ะผะธัะฐ ะธะณัั (ะฝะต ััะธัะฐั ะบะพัะธะดะพัะฝะพะต ัะปัััะฐ ะดะพะปะณะพ ะฒัััะฟะปะตะฝะธะต-ะพะฑััะตะฝะธะต ะผะตั ะฐะฝะธะบะฐะผ), ะบะพะณะดะฐ ัั ะบะฐะบ ะฒ ะพัะธะณะธะฝะฐะปัะฝะพะผ ััะฐะปะบะฐัะต ะตัั ะฝะธัะตะณะพ ะฝะต ะฟะพะฝะธะผะฐะตัั ะธ ะธัะตัั ั ะพัั ะบะฐะบัั-ัะพ ะฟััะบั, ะฑะตะณะฐั ะฝะฐ ะฒัะต 4 ััะพัะพะฝั ะฟััะฐััั ะฝะต ัะผะตัะตัั ะพั ะฟะฐัั ะฒััััะตะปะพะฒ ะฑะฐะฝะดัะบะพะฒ, ะฐ ะฒะพั ะฟะพัะพะผ ัะถะต ะฒัั ะธะณัั ะฟัะธ ะณัะฐะผะพัะฝะพะผ ัะฐัะฟัะตะดะตะปะตะฝะธะธ ัะตััััะฐะผะธ ะผะพะถะฝะพ ะบะฐะบ ะธ ัะฐะฝััะต ะพััะณััะฒะฐัั ัะธะผัะปััะพั ัะพัะณะฐัะฐ ั ะฝะพัะตะฝะธะตะผ ัะพ ัะบะพัะพัััั ัะปะธัะบะธ ะฟะพััะพัะฝะฝะพะณะพ ะฟะตัะตะณััะทะฐ ะฟะพ 100 ะบะธะปะพะณัะฐะผะธ ะฒ ััะบะทะฐะบะต ะธ ั ะฐะฟะฐะฝัั ะบะฐะถะดะพะณะพ ะผััะพัะฐ ะปะธัั ะฑั ัะปะธัั ััะพ ะฒัั ะทะฐ ะดะพะฟะพะปะฝะธัะตะปัะฝัะต ะฟะฐัั ะบะพัะฐัะธะบะพะฒ ั ะฟัะพะดะฐะฒัะฐ (ะขัั ะพััะฐะฒะธะปะธ ะฒัะฟะฐะดะตะฝะธั ัะฐััะธัะฝะพ ัะปะพะผะฐะฝะฝัั ะพััะถะตะบ ะฟะพััะธ ั ะบะฐะถะดะพะณะพ ะผะพะฑะฐ, ะฝะพ ะธ ัะฐััะพัะฐ ะฒัะฟะฐะดะตะฝะธั ะบัะฐัะฝะพะณะพ ัะพััะพัะฝะธั, ะฝะตะณะพะดะฝะพะณะพ ะดะฐะถะต ะดะปั ะปัะณะบะธั ะฑะฐะฑะพะบ, ะพััะฐะปะฐัั ะฟัะตะถะฝะตะน)
ะขะฐะบ ััะพ ัะพะฒะตััั ะธะทััะฐัั ัะพะปัะบะพ ะพะบะพะปะพ ััะถะตัะฝัะต ะปะพะบะฐัะธะธ, ะฐ ะฝะต ะบะฐะบ ั ะฟัะพััะฐัั ะฝะฐ 100% ะพัะผะพัั ะฑะพะปะตะต 150 ัะฐัะพะฒ ัะฒะพะตะณะพ ะฒัะตะผะตะฝะธ, ะฝะต ััะพะธะปะพ ะพะฝะพ ัะพะณะพ, ั ะพะดะฝะพะน ััะพัะพะฝั ั ะพัะพัะพ, ััะพ ะพะฝะธ ะฒะพััะพะทะดะฐะปะธ ะฟะพััะธ ะฒัะต ะบะฐััั ะพัะธะณะธะฝะฐะปะฐ, ัะดะตะปะฐะปะธ ะธั ะณะพัะฐะทะดะพ ะฑะพะปััะต, ะธ ะปะพะณะธัะฝะพ ัะฒัะทะฐะปะธ ะธั ะผะตะถะดั ัะพะฑะพะน ะะะ ะฒััะบะธั ะะะะ ะฃะะะ, ะฝะพ ะพัััะตะฝะธั "ะฐััะตั-ัะปะธะฟะฐ" ะฒะพ ะผะฝะพะณะธั ะผะตััะฐั ะฝะต ัั ะพะดะธั.
ะัะธ ััะพะผ ะฒ ะกัะฐะปะบะตั 2 ะตััั ะฒะตัะธ, ะบะพัะพััะต ะฒัะต ะถะต ะฝะตะผะฝะพะณะพ ะบะพะผะฟะตะฝัะธัััั ะฝะพะฒะพะณัะฐัะพะฝะธัััั ะฐัะผะพััะตัั, ัะพ, ััะพ ะฒะพั ะดะตะนััะฒะธัะตะปัะฝะพ ะผะพะถะฝะพ ะฝะฐะทะฒะฐัั ัะฐะณะพะผ ะฒะฟะตััะด - ััะพ ะฐะฝะพะผะฐะปะธะธ (ะธ ะฟะพะณะพะดะฝัะต ััะปะพะฒะธั), ะฐะฒัะพัั ะธะทะพะฑัะตัะฐัะตะปัะฝะพ ะฟะพัะฐะฑะพัะฐะปะธ ะฝะฐะด ัััะตะบัะฐะผะธ (ะฝะต ัะฐะบ ะบะฐะบ ะธะฝะดะธ-ัะฐะทัะฐะฑั Pacific Drice, ะฝะพ ะฒัั ะถะต), ะพััะฐะฒะธะปะธ ะฝะต ัะพะปัะบะพ ะฒัะตะผ ะทะฝะฐะบะพะผัะต, ะฝะพ ะธ ะฝะฐััะบะฐะปะธ ะฟะพ ะฟะพะปัะผ ัะพะฒะตััะตะฝะฝะพ ะฝะพะฒัะต ะฒะธะดั ะฐะฝะพะผะฐะปัะฝัั ะฟัะพัััะฐะฝััะฒ, ะณะตะนะผะฟะปะตะนะฝะพ ัะพะปัะบะพ ะฟะฐัะพัะบั ะฒัะทะพะฒัั ะธะฝัะตัะตั, ะฝะพ ะฒะธะทัะฐะปัะฝะพ ะพัะตะฝั ัะฐะดัะตั ะณะปะฐะท.
ะะพะพะฑัะต ะตััั ะฟะฐัั ะผะตัั ะฟััะผะพ ะฒัะทัะฒะฐััะธั ะผััะฐัะบะธ, ะฝะพ ััะพ ัะพะปัะบะพ ัะธะฝะฐะปัะฝะฐั "ะัะธะฟััั" ะธ ะผะตััะฐ ััะดะพะผ ั ะฝะตะน, ะฝั ะทะฐะฑัะพัะบะธ ะพะฝะธ ะฒัะตะณะดะฐ ะฐัะผะพััะตัะฝัะต. ะััะฐัะธ, ััะพ ะตัั ะฒัะฟะพะผะฝะธะป, ะฑัะฝะบะตัั ะฒ ะฝะพะฒะพะน ะณัะฐัะธะบะต ะฒะพะพะฑัะต ะฝะต ัััะฐัะฝัะต, ะบ ัะพะถะฐะปะตะฝะธั.
(ะฏ ะตัั ะฝะต ะฟะพะฝัะป, ะฐ ะะพะฝะฐ ะพะฝะฐ ะผะตะฝัะตััั ั ะพัั-ะฑั ะฐะฝะพะผะฐะปะธะธ?? ะธะปะธ ะฒัั ััะฐัะธัะฝะพะต..)
ะะฐ ะฟะตัะฒะพะน ะปะพะบะฐัะธะธ "ะะฐะปะตััะต" ะตััั ะตัั ะพัะตะฝั ะฒะฐะนะฑะพะฒะฐั ambient-ะผัะทัะบะฐ, ะฟััะผ ะฟัะพะฑะธัะฐััะฐั ะดะพ ะผััะฐัะตะบ, ะบะพะผะฟะพะทะธัะพั ะฝะฐะฟะธัะฐะป ััะตะบะธ, ะดะตะนััะฒะธัะตะปัะฝะพ AAA-ััะพะฒะฝั, ะฝะพ ะฝะต ะฒัั ัะฐะบ ะพะดะฝะพะทะฝะฐัะฝะพ, ะดะฐะถะต ะผัะทัะบะฐ ะธะณัั ัััะฐะดะฐะตั ะพั ะตั ะณะปะฐะฒะฝะพะน ะฟัะพะฑะปะตะผั - ะฟัะพะฑะปะตะผั "ะะฐัััะฐะฑะฐ ัะฐะดะธ ะผะฐัััะฐะฑะฐ", ะฒัะต ะบะพะผะฟะพะทะธัะธะธ ะฝะตะฒะตัะพััะฝะพ ัะฐัััะฝััั, ะฐ ะพะฑัะธะน ะฐะปัะฑะพะผ ะธะดัั ะะะงะขะ 8 ะงะะกะะ!! ะ ะธัะพะณะต 90% ััะพ ะบะฐะบะฐั-ัะพ ัะพะฝะพะฒะฐั ัะธัะธะฝะฐ.. ะะพะฝะธะผะฐะตัะต, ะฒ ััะพะผ ะฒะตัั ะกัะฐะปะบะตั 2, ะฐะฒัะพัั ะฝะต ัะฟัะฐะฒะธะปะธัั ั ะทะฐะฟะพะปะฝะตะฝะธะตะผ ะพะณัะพะผะฝัั ะพะฑัะตะผะพะฒ ะธะณัั ะบะพัะพััั ะพะฝะธ ะฒ ัะฒะพะธั ะผะตััะฐั ะฝะฐัะฐะฝัะฐะทะธัะพะฒะฐะปะธ, ะดะฐ ะธ ะฝะธะบัะพ ะฑั ะฝะต ัะฟัะฐะฒะธะปัั, ะธ ััะพะฑั ะฟะพะปััะธัั ัะดะพะฒะพะปัััะฒะธะต ะพั ััะธั ัะฐะผัั 10% ัะตะฑะต ะธ ะฝะฐะดะพ ัะตัะฟะตัั ะฟัััะพัั , ะบะพัะพัะฐั ะตัั ะธ ะดะพะฟะพะปะฝะธัะตะปัะฝะพ ัะฐะทะดัะฐะถะฐะตั ะบะปะฐััะธัะตัะบะธะผะธ ะดะปั ัะตัะธะธ ะฑะฐะณะฐะผะธ ะธ ะฟะปะพั ะพะน ะพะฟัะธะผะธะทะฐัะธะตะน (ะฝั ัะตัััะทะฝะพ, ะกัะฐะปะบะตั ะฑะตะท ััะพะณะพ ะฝะต ะฑัะป ะฑั ัะพะฑะพะน), ะฟะพััะพะผั ั ะธ ะดะตะปะฐั ะฒัะฒะพะด, ััะพ ะธะณัะฐ ะบะฐะบ ะฝะฐ ัะตะปะธะทะต, ัะฐะบ ะธ ะดัะผะฐั, ั ะพะฑะฝะพะฒะปะตะฝะธัะผะธ, ะพััะฐะฝะตััั ัะพะปัะบะพ ะดะปั ัะฐะฝะฐัะพะฒ ะบัะปััะพะฒะพะณะพ ะพัะธะณะธะฝะฐะปะฐ, ะฝะพ ัะฐะผะฐ ะบัะปััะพะฒะพะน ะฝะธะบะพะณะดะฐ ะฝะต ััะฐะฝะตั.
ะะท ัะพั ัะฐะฝัะฝะฝัั ะฟะปััะพะฒ ั ะฝะฐั ััั ะพะณัะพะผะฝัะน ะฐััะตะฝะฐะป ะฒัะตั ะทะฝะฐะบะพะผัั ะฒะธะดะพะฒ ะฑัะพะฝะธ, ะธ ะพััะถะธั, ะตะณะพ ะฟัะพััะพ ะณะธะณะฐะฝััะบะพะต ะบะพะปะธัะตััะฒะพ ะฒะธะดะพะฒ, ะธ ะฒะฝััะธัะตะปัะฝะพะต ะบะพะปะธัะตััะฒะพ ะผะพะดะธัะธะบะฐัะธะน ะดะปั ะบะฐะถะดะพะณะพ ั ะฒะฝะตัะฝะธะผะธ ะฒะธะดะพะธะทะผะตะฝะตะฝะธัะผะธ (ะพัะพะฑะตะฝะฝะพ ะฟัะธะบะพะปะพะปะฐ ะดะฒะพะนะฝะฐั ะพะฑะพะนะผะฐ ะฝะฐ GP37), ะธะผะฟะฐะบั ะพั ัััะตะปัะฑั ะฝะตะฟะปะพั ะพะน, ะธ ะฟะพะฝััะฝะพ ััะพ ะปัััะต ะบัะธะฒะพะฒะฐัะพะน ัััะตะปัะฑั 2007 ะณะพะดะฐ, ััั ะตัั ะฟัะพัะฐะฑะพัะฐะปะธ ัะบัะธะฟัั ััะฟะตั-ัััะตะบัะฝัั ะฒะฐัะธะฐะฝัะพะฒ ะพัะตัะตะบ ะธ ะทะฐะบะปะธะฝะธะฒะฐะฝะธั, ะฟัะธััะผ ะพะดะฝะฐ ะธ ัะฐะถะต ะฐะฝะธะผะฐัะธั ะดะฐะถะต ะฝะต ะฝะฐะดะพะตะดะฐะตั, ะฝะฐะฒะตัะฝะพะต, ะตะดะธะฝััะฒะตะฝะฝะพะต, ััะพ ะฒ ะธะณัะต ัะดะตะปะฐะฝะพ ะดะปั "ะธะผะผะตััะธะฒะฝะพััะธ", ะผะพะถะฝะพ ะตัั ะฑัััะฐะปัะฝะพ ะบััะฐัั ะผััะพ ะบะพะฝัะตัะฒ ั ะฝะพะถะธัะบะฐ ะธ ะฒัะบััะฒะฐัั ะฑัะตะฝะดะพะฒัะน ัะฝะตัะณะตะฝัะธะบ ั ั ะฐัะฐะบัะตัะฝัะผ ะทะฒัะบะพะผ, ะถะฐะปะบะพ ะฒ ัะฐะผะพะผ ะผะธัะต ะผะฐะปะพ ั ัะตะผ ะฒะทะฐะธะผะพะดะตะนััะฒัะตัั, ะฒะฝะต ะบะฐัััะตะฝ,
ะ ะฒะพั ััะพ ะตัั ะพะดะธะฝ ะฝะตัะพะผะฝะตะฝะฝัะน ะฟะปัั ะฒัะพัะพะน ัะฐััะธ, ะฒะพ-ะฟะตัะฒัั ััั ะพัะตะฝั ัะธัะตัะฝะพ ะฒะพะทะฒัะฐัะฐัั ะฒัะตั ะบะปะฐััะธัะตัะบะธั ะฟะตััะพะฝะฐะถะตะน, ะธ ะฑะพะปัััั ัะฐััั ััะถะตัะฐ ะฑะฐะทะธัััั ะฒะพะบััะณ ะฝะธั ะธ ะพัััะปะพะบ ะฝะฐ ะฟัะพัะปะพะต, ะจัะฐะผ ััั ะฒะพะพะฑัะต ะฟััะฐะตััั ะบะพัะฟะปะตะธัั ะะฐะฐัะฐ ะธะท ะคะฐั ะัะฐั ะธ ัััั ะปะธ ะฝะต ะฟะปััะฐัั ะบะฐะถะดัะน ัะฐะท ะฒ ะบะฐะดัะต, ั ะณัะฐะดััะพะผ ะฟะฐัะพัะฐ, ะบะพะฝะตัะฝะพ ะถะต, ะฟะตัะตะฑะพั, ะธ ะฝะฐะดะพ ะฟะพะฝะธะผะฐัั, ััะพ 90% ะธััะพัะธะธ - ััะพ ะฒัั ะตัะต ะดะธะฐะปะพะณะธ, ะฝะพ ัะตะฟะตัั ะพัะตะฝั ััะธะปัะฝะพ ะฟะพััะฐะฒะปะตะฝะฝัะต, ะฑะปะฐะณะพะดะฐัั ะ ัััะบะพะผั ัะตะถะธััััั ะะปัะต ะะฐะนััะปะปะตัั ะดะฐ ะดะฐ! ะะฝ ะฒัะพะดะต ะทะฐะฝะธะผะฐะปัั ัะพะปัะบะพ ะทะฐั ะฒะฐัะพะผ ะดะฒะธะถะตะฝะธะน, ะฝะพ ััะดั ะฟะพ ะตะณะพ ะปัะฑะฒะธ ะบ ัะธะปัะผะฐะผ ะพั ะฟะตัะฒะพะณะพ ะปะธัะฐ, ะดัะผะฐั ััะพ ะฝะต ัะพะปัะบะพ + ะฟัะธัััััะฒัะตั ะตะณะพ ะบะฐะผะตะพ ะฒ ะฒะธะดะต ะบะปััะตะฒะพะณะพ ะฟะตััะพะฝะฐะถะฐ (ะััะฐัะธ, ั ะฒะธะดะตะป ะฒะธะดะพั ะฝะฐ ะฎััะฑะต, ััะพ ะตัะปะธ ะพััะฐะฒะธัั ะผะฝะพะณะพ ัะธะทะธัะฝัั ะฟัะตะดะผะตัะพะฒ ะฒ ะบะพะผะฝะฐัะต ั ะบะฐัััะตะฝะพะน, ัะพ ััะบะธ ะธ ะฝะพะณะธ ะฟะตััะพะฝะฐะถะตะน ะฑัะดัั ะฟััะผ ะฟะพ ัะตะฐะปัะฝะพะน ัะธะทะธะบะต ัะตะฐะณะธัะพะฒะฐัั ะฝะฐ ะฒะตัั ััะพั ั ะปะฐะผ, ะฝะพ ัะฐะผ ะฝะต ะฟัะพะฒะตััะป). ะะฟััั ะถะต, ััะถะตั ั ะพัะพัะพ ัะฐะทะณะพะฝัะตััั ะฒ ะฝะฐัะฐะปะต, ะฝะพ ะฟัะพัะตะดะฐะตั ะฑะพะปัััั ัะฐััั ะธะณัั, ะฐ ะฝะพััะฐะปัะณะธัะตัะบะธะต ััะฒััะฒะฐ ะฒัะทะพะฒะตั ัะพะปัะบะพ ั ัะถะต ะธะณัะฐะฒัะธั , ะฝะพ ั ะพัั-ะฑั ะธะผะตะตั ะฝะตัะบะพะปัะบะพ ะบะพะฝัะพะฒะพะบ, ะฝะตัะบะพะปัะบะพ ะธะท ะบะพัะพััั ะดะพ ะดัะพะถะธ ะผัะฐัะฝัะต. ะ ัะตะปะพะผ, ะฒัั ะตัะต ะฟัะพั ะพะดะฝัะบะพะฒัะน ััะตะฝะฐัะธะน, ะปะธัะฝัะน ัะพัั ะณะปะฐะฒะฝะพะณะพ ะณะตัะพั "ะกะบะธัะฐ" ัะฐัะบััั ะฟะปะพั ะพ, ะฟัะพััะพ ะฟะพะดะฐัะฐ ะฟะพะดะธะฝะฐะผะธะฝัะตะต, ะธ ะดะฐะถะต ะฝะตั ะบะฐะบะพะน-ัะพ ัะฐัะธัั ะฝะฐ ัะตะฐะปัะฝัะต ัะพะฑััะธั, ะตัะปะธ ะฒั ะฑะพัะปะธัั, ะปะธัั ัะปะตะผะตะฝัะพะฒ ะบัะปััััั ัะพะดะธะฝั ัะฐะทัะฐะฑะพะฒ ััะฐะปะพ ะฑะพะปััะต. ะ ะฒะพั ัะฐะทะฒะตัะฒะปัะฝะฝะพััั ะธััะพัะธะธ ะฟะพ ัััะธ ัะฒะพะดะธััั ะบ ะฒัะฑะพัั ะณััะฟะฟะธัะพะฒะบะธ (ะฒะผะตััะพ ะฒะพะตะฝะฝัั ัะตะฟะตัั "ะะฐััะฐ"), ะปะธะฑะพ ะผะพะถะฝะพ ะฑััั ะฟัะพัะธะฒ ะฒัะตั , "ััะพ ะดะตะนััะฒะธะต ะฑัะดะตั ะธะผะตัั ะฟะพัะปะตะดััะฒะธะต" ัะฐะฑะพัะฐะตั ัะพะปัะบะพ ะฟัะธ ะบะปััะตะฒัั ััะถะตัะฝัั ะฟะพะฒะพัะพัะฐั , ัะฒั, ะธะท-ะทะฐ ััะพะณะพ ะฟะตัะตะฟัะพั ะพะดะธัั ะกัะฐะปะบะตั 2 ะพัะพะฑะพ ะฝะตะธะฝัะตัะตัะฝะพ, ะบะปะฐััะธัะตัะบะพะณะพ ะฒัััะฟะปะตะฝะธั ะฒ ะปัะฑัั ะณััะฟะฟะธัะพะฒะบั ััั ะฝะตัั,
ะะฐ, ัะฐะผ ะตััั ะฟะฐัั ะฟัะธะบะพะปะพะฒ ั ัะฐะนะด-ะบะฒะตััะฐะผะธ, ะบะพัะพััะต ะธะฝะพะณะดะฐ ะผะพะถะฝะพ ะพัะตะฝั ั ะธััะพ ะฟัะพะนัะธ, ะฝะพ ัะฐ ะถะต ัะฐะผะฐั ะฟัะพะฑะปะตะผะฐ "ะผะฐัััะฐะฑะฐ", ััะพ ะฝะต ะฒัะตะณะดะฐ ะฟัะพััะพ ะฟัะธะฝะตัะธ-ะฟะพะดะฐะน, ะฝะพ ะฒัะต ะพะฝะธ ะฟัะพัะฐะฑะพัะฐะฝั ัะพะปัะบะพ ะฒ ะฝะฐัะฐะปัะฝะพะผ "ะะฐะปะตััะต", ะบะพัะพัะฐั ะฑัะปะฐ ัะดะตะปะฐะฝะฐ ะดะปั ะถััะฝะฐะปะธััะพะฒ, ัะฐะผ ะฟััะผ ะฟะปะพัะฝะฐั ะบะพะฝัะตะฝััะฐัะธั ะทะฐะดะฐะฝะธะน ะฝะฐ ะบะฒะฐะดัะฐัะฝัะน ะผะตัั, ะฐ ะดะฐะปััะต ะฟััััะต ะฟะพะปั c ะพะดะฝะธะผ ะบะฐะปะตะบะพะน ะฝะฐ 3 ัะฐัะฐ ะธะณัั, ะฝะพ ััะพ ะฒัั ะตัะต ะฟะพะปัััะต ัะตะผ ะฟะตัะฒัั ะกัะฐะปะบะฐัะตะน, ะขะฐะบะถะต ะฒ ะธะณัะต ะฝะตัั, ะธ ะฒััะดะปะธ ะฑัะดะตั ะดะพ ัะธั ะฟะพั ัะฝะธะบะฐะปัะฝะพะน ัะธััะตะผั A-Life, ะบะพะณะดะฐ ะฒัะต ะผะพะฑั ั ะพะดะธะปะธ ะฒ ะปัะฑะพะน ัะพัะบะต ะผะธัะฐ ะฟะพ ัะฒะพะธะผ ะดะตะปะฐะผ ะฝะตะทะฐะฒะธัะธะผะพ ะพั ะธะณัะพะบะฐ (ัะฐะบ ะบะฐะบ ะพัะฒะตัะฐะฒัะธะน ะทะฐ ััะพ ะฟัะพะณัะฐะผะผะธัั ะฟะพะบะธะฝัะป ะบะพะผะฟะฐะฝะธั), ัะตะฟะตัั ััะพ ะฟัะพััะพ ัะตัะฟะฐัะฝั ะทะฐ ัะฟะธะฝะพะน ะธะณัะพะบะฐ ะฟะพ ัะบัะธะฟัะฐะผ, ะธะท-ะทะฐ ัะตะณะพ ะตัะปะธ ะฟััะฐะตัััั ะพะฑะพะนัะธ ะฟะพ ะบััะณั ะพัะผะพััะตัั ะบะฐะบะพะต-ัะพ ะผะตััะพ ะฟัะธะดัััั ััะพะปะบะฝััััั ั ะพะดะฝะธะผะธ ะธ ัะตะผะธ ะถะต ะฟัะพัะธะฒะฝะธะบะฐะผะธ ะฝะตัะบะพะปัะบะพ ัะฐะท.. ะฝะฐะฒะตัะฝะพะต, ะฝะต ะฝะฐะดะพ ะพะฑัััะฝััั ะฟะพัะตะผั ััะพ ัะฐะผัะน ะฑะตัััะธะน ัะฐะบัะพั ัะตะปะธะทะฝะพะณะพ ะฑะธะปะดะฐ,
ะ ะธะท ะดััะณะธั ะผะตะปะบะธั ัะฐะทะดัะฐะถะธัะตะปะตะน ััั ัะตัะตัััั ะฑัััััะต ะธ "ะถะธัะฝัะต" ะบัะพะฒะพัะพัั, ัั ัะธะฟะพ ะดะพะปะถะตะฝ ะฒะธะดะตัั ะธั ะฟะพ ัะปะตะดะฐะผ, ะฝะพ ะดะฐ ะดะฐ ั ัะฐะบะพะน ัััะพัััั ะธะณัั, ะบะพะฝะตัะฝะพ ะฑะปะธะฝ ัะฒะธะดะธัั ััะพ-ะฝะธะฑัะดั.. ะัะธะผะตะฝะตะฝะธะต ะฐะฟัะตัะตะบ ะธ ะตะดั ัะตะฟะตัั ะฐะฒัะพะผะฐัะธัะตัะบะธ ะทะฐะฑะธะฝะดะตะฝะพ, ะฝะพ ะฟัะธ ััะพะผ ะฝะฐะดะพ ะฒัะตะณะดะฐ ะฝะตัะบะพะปัะบะพ ัะตะบัะฝะด ะทะฐะบะปะฐะดัะฒะฐัั ะฝะฐ ะฐะฝะธะผะฐัะธั ะดะปั ั ะฐัะดะบะพัะฝะพััะธ, ะฒ ัะพะผ ัะธัะปะต ะฝะฐ ะดะพััะฐะฒะฐะฝะธะต ะธะท ะบะพะฑััั ะพััะถะธั ะธะปะธ ะฟัะธัะตะปะธะฒะฐะฝะธั, ะฝะพ ั ัะถะต ะพะฑัััะฝัะป ะฟะพัะตะผั ััะพั ะฐัะฟะตะบั ะธะณัั ะฝะต ัะฐะฑะพัะฐะตั. ะงัะพะฑั ะฒััะฐัะธัั ะฟะพะดััะฒะพะปัะฝะธะบ ะฝะฐะดะพ ะฝะฐะถะฐัั ะฝะฐ tab ะธ ะฟะพัะพะผ ัะดะตัะถะธะฒะฐั c, ััะพ ะบัะฐะนะฝะต ะฝะตัะดะพะฑะฝะพ ะธ ะฒ ะบัะฟะต ั ะดะพะปะณะพะน ะฐะฝะธะผะฐัะธะตะน ะฒะพะพะฑัะต ัะฑะธะฒะฐะตั ะปัะฑัั ะฒัะณะพะดั ะธัะฟะพะปัะทะพะฒะฐะฝะธั. ะะพะฒัะน ะธะฝัะตััะตะนั ะฒะพะพะฑัะต ะบะฐะบะพะน-ัะพ ะฟัะตัะฝะพ-ัะฐะฑะปะพะฝะฝัะน, ะฝะพ ัะตัะฟะธะผัะน, ะทะฐัะพ ะฒ ะทะฐะฟะธัะบะฐั ะฟัะธะบะพะปัะฝัะต ะฐััั. ะัั ะธะท ะฟะพะปะตะทะฝะพะณะพ ะผะพะณั ะฒัะฟะพะผะฝะธัั, ััะพ ัะตะฟะตัั "ะฃะทะธ" ะผะพะถะฝะพ ะฒ ัะปะพั ะฟะธััะพะปะตัะฐ ะฒััะฐะฒะธัั, ะฑะฐะปะฐะฝั ะฐััะตัะฐะบัะพะฒ ะฝะพัะผะฐะปัะฝัะน, ะฒัะฑัะพัั ะพััะฐะปะธัั, ัะตะฟะตัั ะดะพััะฐัะพัะฝะพ ะบัะฐัะธะฒะพ.
๐ะ ะพะฑัะตะผ, ััะพะธั ะปะธ ะพะฝะฐ ัะพะณะพ? ะะฟัะตะดะตะปัะฝะฝะพ, ะตััั ัััะฟัะธะทั ะฒ ะฝะฐัะฐะปะต ะธ ะบะพะฝัะต. ะกัะพะธั ะปะธ ะตั ัะตัะฟะตัั, ะตัะปะธ ะธะณัะฐ ะฝะฐัะธะฝะฐะตั ัะฐะทะดัะฐะถะฐัั? ะะตั. ะะพัะธะบััั ะปะธ ะฒัั ะฟะฐััะฐะผะธ? ะัะธััะฝะตะน ััะฐัั ะผะพะถะตั, ะฝะพ "ะบะพะฝัะตะฝัะฝัะต" ะฟัะพะฑะปะตะผั ะพะฝะธ ะฒััะดะปะธ ะธัะฟัะฐะฒัั, ัะฐะบ ััะพ ะธ ะพัะบะปะฐะดัะฒะฐัั ะธะณัั ะฝะฐ 5 ะปะตั ั ะฝะต ะฒะธะถั ัะผััะปะฐ (ะบััะฐัะธ, ะดะปั ั "ะะธะผะฐะฝัะบะพะผ" ะฒัะนะดะตั ะฑะพะปััะต ัะตะผ ัะตัะตะท ะณะพะด ะธ ะดะพ ัะธั ะฟะพั ะดะฐะถะต ะะตะปัะบั-ะฒะตััะธะธ ะฝะตั ะดะปั ะฟัะพะดะฐะถะธ ะพัะดะตะปัะฝะพ.. ะฐ ะฒะตะดั ัะฐะผ ะตัั ะผัะปััะธะฟะปะตะตั ะพะฑะตัะฐะปะธ).
p.s. ะฃะดะธะฒะธัะตะปัะฝะพ, ะบััะฐัะธ, ะฝะพ ะะตะปัะบั-ะฒะตัะธ ะฝะต ะฟะพัััั ะฑะฐะปะฐะฝั, ะฐ "ะดะพะฟะพะปะฝะธัะตะปัะฝัะน ััะถะตัะฝัะน ะบะฒะตัั" - ััะพ ะฟะพ ัััะธ ะฟัะพััะพ ัะฐะนะฝะธะบะธ ัะพ ัะบะธะฝัะธะบะฐะผะธ. p.p.s. ะฃะฒั, ะฝะต ั ะฒะฐัะธะปะพ ะฑะตะทัะผะฝัั ัะฝะพะฒ ัะพะฑะฐะบะธ, ะฝะพ ะฟะพ ััะถะตัั ั ะฝะฐัะตะณะพ ะฟะตััะพะฝะฐะถะฐ ะพัะพะฑะพ ะบะพัะผะฐัะฐะผ ะธ ะฝะตะพัะบัะดะฐ ะฒะทััััั. ๐ะะพะดะดะตัะถะธัะต ะฟะพะดะฟะธัะบะพะน ะฝะฐ ะััะฐัะพัะบั ะกัะธะผ: https://store.steampowered.com/curator/37365104
๐I play a new sโะตั
game 1โ8โ+โ) I can not get through it, very hard) Who played, help me โค https://ssur.cc/seuhub
I wish this project a failure, there is no question of any creativity. These are just political pigs trying to shut people's mouths, covering the problems of game production. Grigorovich is just a fraudster who simply spends investors' money on his own needs and uses someone else's intellectual property. And not only that, it's Nazi scum