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S.T.A.L.K.E.R. 2: Heart of Chornobyl review
by Facundo Colavini

Nice game!
Admiral_Ant
Oh rly? Where did you play it?
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h
hajox
https://vimeo.com/750849649 https://mega.nz/folder/sQEEALzL#HUBPjQO9jCmM0sHSS9WHEw
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Other reviews7

๐Ÿ“œTo 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 "๐‡๐ž๐š๐ซ๐ญ ๐จ๐Ÿ ๐‚๐ก๐ž๐ซ๐ง๐จ๐›๐ฒ๐ฅ":
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 "๐’๐œ๐š๐ฅ๐ž ๐Ÿ๐จ๐ซ ๐ญ๐ก๐ž ๐ฌ๐š๐ค๐ž ๐จ๐Ÿ ๐ฌ๐œ๐š๐ฅ๐ž", 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 itโ€™s quite beautiful.

๐Ÿ†In 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 โ€œcontentโ€ problems, so I don't see the point in delaying the game for 5 years (by the way, the DLC with โ€œLimanskโ€ 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.

๐Ÿ˜Š ๐—ฆ๐˜‚๐—ฏ ๐˜๐—ผ ๐—บ๐˜† ๐—ฆ๐˜๐—ฒ๐—ฎ๐—บ`๐˜€ ๐—–๐˜‚๐—ฟ๐—ฎ๐˜๐—ผ๐—ฟ`๐˜€ ๐—ฝ๐—ฎ๐—ด๐—ฒ: https://store.steampowered.com/curator/41977550
//
ะงั‚ะพะฑั‹ ะฝะต ั…ะพะดะธั‚ัŒ ะฒะพะบั€ัƒะณ ะดะฐ ะพะบะพะปะพ, ัั‚ะพ, ะพะฟั€ะตะดะตะปั‘ะฝะฝะพ - ะกั‚ะฐะปะบะตั€, ัั‚ะพ ะฝะต ะฟะพะทะพั€ะธั‰ะต, ะบะฐะบ ัั‡ะธั‚ะฐัŽั‚ ะผะฝะพะณะธะต, ะฝะพ ะธ ะฝะต ั‚ะพ, ั‡ะตะณะพ ัั‚ะพะธะปะพ ั‚ะฐะบ ะดะพะปะณะพ ะถะดะฐั‚ัŒ, ั‡ั‚ะพ-ั‚ะพ ะผะตะถะดัƒ, ะดะพะฒะพะปัŒะฝะพ ัั€ะตะดะฝะธะน ัะธะบะฒะตะป, ะบะพั‚ะพั€ั‹ะน ะผะพะถะฝะพ ะฟั€ะพะนั‚ะธ ะผะธะผะพ, ะตัะปะธ ะฒั‹ ะฝะต ะธะณั€ะฐะปะธ ะดะฐะถะต ะฒ ะพั€ะธะณะธะฝะฐะปัŒะฝั‹ั… ะกั‚ะฐะปะบะตั€ะพะฒ, ะฝะพ ะฒัั‘ ะถะต ัั‚ะพะธั‚ ะทะฐั†ะตะฝะธั‚ัŒ ั„ะฐะฝะฐั‚ะฐะผ ัะตั€ะธะธ, ะฟะพะปัƒั‡ะธะปะพััŒ ะฒ ะปัŽะฑะพะผ ัะปัƒั‡ะฐะต ะพะณั€ะพะผะฝะพะต ะบัƒะปัŒั‚ัƒั€ะฝะพะต ัะพะฑั‹ั‚ะธะต, ะฐ ัั€ะฐั‡ะธ ะฒะพะบั€ัƒะณ ะธะณั€ั‹ ั‚ะพะปัŒะบะพ ั€ะฐะทะดัƒะปะธ ะตะณะพ ะตั‰ั‘ ะฑะพะปัŒัˆะต, ั‚ะฐะบะธั… ะณั€ะพะผะบะธั… ะฝะพะฒะธะฝะพะบ ะดะปั ะกะะ“-ะณะตะนะผะตั€ะฐ ะฝะต ะฑัƒะดะตั‚ ะตั‰ั‘ ะพั‡ะตะฝัŒ-ะพั‡ะตะฝัŒ ะดะพะปะณะพ, ะธ ัะพั‡ัƒะฒัั‚ะฒัƒัŽ ั‚ะตะผ, ะบั‚ะพ ัะบะธะฟะฝัƒะป ะธะณั€ัƒ ะธะท-ะทะฐ ะฟั€ะตะดั€ะฐัััƒะดะบะพะฒ (ั ะณะดะต-ั‚ะพ ะผะตัั ั ะธะณั€ั‹ ะฝะต ะผะพะณ ะฟะพะฒะตั€ะธั‚ัŒ ั‡ั‚ะพ ะพะฝะฐ ะฒั‹ัˆะปะฐ ะฟั€ะธะบะพะปัŒะฝะพะต ั‡ัƒะฒัั‚ะฒะพ),
ะฏ ะฝะต ะฑัƒะดัƒ ะพะฟะธัั‹ะฒะฐั‚ัŒ, ั‡ั‚ะพ ั‚ะฐะบะพะต ะกั‚ะฐะปะบะตั€ ะฟะพ ะณะตะนะผะฟะปะตัŽ, ะฟะพั‚ะพะผัƒ ั‡ั‚ะพ ะธะณั€ะฐ ัะปะธัˆะบะพะผ ั‚ะพะถะต ัะฐะผะพะต, ะผะพะถะฝะพ ะดะฐะถะต ะฝะฐะทะฒะฐั‚ัŒ ะผัะณะบะธะผ ั€ะตะผะตะนะบะพะผ, ะปะธัˆัŒ ะพั‚ะผะตั‡ัƒ ัะธะปัŒะฝั‹ะต ะธ ัะปะฐะฑั‹ะต ัั‚ะพั€ะพะฝั‹ "Heart of Chernobyl":
ะ’ะพ-ะฟะตั€ะฒั‹ั…, ะบะพะฝะตั‡ะฝะพ ะถะต ะพะฝะธ ะฝะต ัะผะพะณะปะธ ะฝะฐ 100% ะฟะตั€ะตะดะฐั‚ัŒ ั‚ัƒ ัะฐะผัƒัŽ ะะขะœะžะกะคะ•ะ ะฃ, ั…ะพั‚ั ะตัะปะธ ะฒั‹ ัะตะนั‡ะฐั ะฟะพะธะณั€ะฐะตั‚ะต ะฒ "Shadow of Chernobyl", ั‚ะพ ะพัั‚ั€ะฐั ะฝะตั…ะฒะฐั‚ะบะฐ ั…ะพั‚ัŒ ะบะฐะบะธั…-ั‚ะพ ะผะตะปะบะธั… ะดะตั‚ะฐะปะตะน ะฒ ะ—ะพะฝะต ัะธะปัŒะฝะพ ะฟะพะดะฟะพั€ั‚ะธั‚ ะฒะฐะผ ะฒะฐัˆะธ ะดะตั‚ัะบะธะต ะฒะพัะฟะพะผะธะฝะฐะฝะธั, ะฒะพะทะผะพะถะฝะพ ัะตะนั‡ะฐั ะฒั‹ ะธะท-ะทะฐ ัั‚ะพะณะพ ะดะฐะถะต ะฝะต ัะผะพะถะตั‚ะต ะฟะพะณั€ัƒะทะธั‚ัŒัั ะฒ ัั‚ะฐะปะบะตั€ัะบะพะต ะฟั€ะธะบะปัŽั‡ะตะฝะธะต, ะฒ "Clear Sky" ะถะต ัะธั‚ัƒะฐั†ะธั ั ะฐั‚ะผะพัั„ะตั€ะพะน ัƒะถะต ะฟะพะปัƒั‡ัˆะต ะทะฐ ัั‡ั‘ั‚ ะฑะพะปะตะต ัะพะฒั€ะตะผะตะฝะฝะพะณะพ ะพัะฒะตั‰ะตะฝะธั ะธ ะฟะฐั€ั‹ ะฝะพะฒั‹ั… ะปะพะบะฐั†ะธะน, ะฝัƒ ั ะดัƒะผะฐัŽ, ั‡ั‚ะพ ะตัะปะธ ะธะณั€ะฐั‚ัŒ ะฒะฟะตั€ะฒั‹ะต, ั‚ะพ ะฐั‚ะผะพัั„ะตั€ะฐ ะฒัั‘ ั€ะฐะฒะฝะพ ะทะฐั…ะฒะฐั‚ะธั‚ ะฒะฐั ั ะณะพะปะพะฒะพะน ัƒะถะต ะธะท ะผะตะฝัŽ, ะณะดะต ะทะฒัƒั‡ะฐั‚ ั‚ะต ัะฐะผั‹ะต ะฝะตะฟะพะฒั‚ะพั€ะธะผั‹ะต ะฝะพั‚ะบะธ ะฝะฐ ั„ะพะฝะต ะงะตั€ะฝะพะฑั‹ะปัŒัะบะพะน ัั‚ะฐะฝั†ะธะธ, ะดะพ ัะธั… ะฟะพั€ ะฝะธ ะพะดะฝะฐ ะธะณั€ะฐ ะธ ะฑะปะธะทะบะพ ั‚ะฐะบะพะณะพ ะฝะต ะดะฐั€ะธั‚, ั‚ะพั‚ ะถะต ะคะพะปะปะฐัƒั‚ ะณะพั€ะฐะทะดะพ ัะปะฐะฑะตะต ะฟะพ "ะฒะฐะนะฑะฐะผ", ะฝะพ ะฟะพะฝัั‚ะฝะพ ัั‚ะพ ั‚ะพะปัŒะบะพ ะถะธั‚ะตะปัะผ ะฟะพัั‚ัะพะฒะบะฐ, ะบะพะฝะตั‡ะฝะพ (ัั‚ะฐะปะบะตั€ ะธ ัะตั€ะธั "ะœะตั‚ั€ะพ" - ะตะดะธะฝัั‚ะฒะตะฝะฝั‹ะน ะฟะปัŽั ั€ะพะดะธั‚ัŒัั ะทะดะตััŒ ะฒะพะพะฑั‰ะต :) )
ะขะฐะบ ะฒะพั‚, Stalker 2 ะธัะฟะพะปัŒะทัƒะตั‚ ัƒะถะต ะฝะฐะฑะธะฒัˆะธะน ะพัะบะพะผะธะฝัƒ "Unreal Engine 5" ัะพ ะฒัะตะผะธ ะตะณะพ ะฟั€ะพะฑะปะตะผะฐะผะธ + ะพะฟัั‚ัŒ ะฝะต ะทะฐะฑะพั‚ะธั‚ัั ะพ ะดะตั‚ะฐะปัŒะฝะพัั‚ะธ ะปะพะบะฐั†ะธะน, ะธะท-ะทะฐ ั‡ะตะณะพ ัะธั‚ัƒะฐั†ะธั ะปัƒั‡ัˆะต ั‡ะตะผ ะฒ 2007 ะณะพะดัƒ, ะฝะพ ะฟะปะพั…ะพ ะดะปั ะพั‚ะบั€ั‹ั‚ะพะณะพ ะผะธั€ะฐ ะฒ 2025 (ั…ะพั‚ัŒ ัั‚ะพ ะธ ะฟะตั€ะฒะฐั ะธะณั€ะฐ ะฒ ะพะฟะตะฝ-ะฒะพั€ะปะดะต ะฝะฐ ะะฝั€ะธะปะต 5), ะธะทัƒั‡ะฐั‚ัŒ ะธะผะตะตั‚ ัะผั‹ัะป ั‚ะพะปัŒะบะพ ะบะปัŽั‡ะตะฒั‹ะต ะพะฑัŠะตะบั‚ั‹,
ะ–ะดะฐะปะบะตั€ 2 ั‚ัƒั‚ ะฟั€ะพะธะณั€ั‹ะฒะฐะตั‚ ะฒััƒั…ัƒัŽ, ะฝะฐะฟั€ะธะผะตั€, "ะ’ะพะปะณะต" ะธะท Metro: Exodus, ะบะพั‚ะพั€ะฐั ัะพะทะดะฐะฒะฐะปะฐ ะฝะตะฒะตั€ะพัั‚ะฝัƒัŽ ะธะผะผะตั€ัะธะฒะฝะพั‡ั‚ัŒ ัะฒะพะตะน ะฒะฝะธะผะฐั‚ะตะปัŒะฝะพัั‚ัŒัŽ ะบ ะผะตะปะบะธะผ ะดะตั‚ะฐะปัะผ, ั€ะฐะทั€ะฐะฑั‹ ะœะตั‚ั€ะพ (4A Gaems), ะบะพั‚ะพั€ั‹ะต ะพั‚ะบะพะปะพะฒัˆะธะตัั ั€ะฐะทั€ะฐะฑั‹ ะกั‚ะฐะปะบะฐั‡ะฐ, ะฒะฟั€ะธะฝั†ะธะฟะต, ะฟั€ะตะฒะทะพัˆะปะธ ะธั… ะฝะฐ 3 ะณะพะปะพะฒั‹, ะฝะพ ะพะฑ ัั‚ะพะผ ั‰ะฐั ะฝะต ะฑัƒะดะตะผ, ะขะฐะบ ะฒะพั‚, ั…ะพั‚ั ั‚ัƒั‚, ะฝะฐะฟั€ะธะผะตั€, ะฝะตะฒะตั€ะพัั‚ะฝะพ ะพะณั€ะพะผะฝะพะต ะบะพะปะธั‡ะตัั‚ะฒะพ ะธะฝั‚ะตั€ะตัะฝั‹ั… ัั…ั€ะพะฝะพะฒ, ะฝะพ ะฒัะต ัั‚ะพ ัƒะฑะธั‚ะพ ะธั… ะฑะตัะฟะพะปะตะทะฝะพัั‚ัŒัŽ ะธ ะผะฐะบัะธะผะฐะปัŒะฝะพ ะดะตั„ะพะปั‚ะฝั‹ะผ ัะพะดะตั€ะถะฐะฝะธะตะผ, ะฟะพั‚ะพะผัƒ ั‡ั‚ะพ ะฟะตั€ะตัะฟะฐัƒะฝะธะฒะฐัŽั‰ะธะตัั ะฒะตะทะดะต ะฒั€ะฐะณะธ ะพั‚ะฝะธะผัƒั‚ ั‚ัƒ ะถะต ะฐะผัƒะฝะธั†ะธัŽ ะธะปะธ ะฟะฐั€ัƒ ะฐะฟั‚ะตั‡ะตะบ, ะบะพั‚ะพั€ั‹ะต ะฒั‹ ะดะพะฑัƒะดะตั‚ะต ะธะท ั‚ะฐะนะฝะธะบะฐ, ะดะตั‚ะฐะปัŒะฝะพ ะบะพะปัƒะฟะฐัััŒ ะฟะพ ะปะพะบะฐั†ะธัะผ ะธ ั€ัƒะณะฐัััŒ ะผะฐั‚ะพะผ ะพั‚ ั‚ะพะณะพ, ั‡ั‚ะพ ะฒัะต ะฒ ะธะณั€ะต ั€ะฐะทะดั€ะฐะถะฐะตั‚ ะธ ะฝะต ะดะฐั‘ั‚ ะฟั€ะพัั‚ะพ ะฟะพะฑั€ะพะดะธั‚ัŒ/ะฟะพะธะทัƒั‡ะฐั‚ัŒ.. ะก ะพะดะฝะพะน ัั‚ะพั€ะพะฝั‹, ะฒ ัั‚ะพะผ ะฒัะตะณะดะฐ ะฑั‹ะปะฐ ะธ ัะพะปัŒ "ะ—ะพะฝั‹" - ะพะฝะฐ ะดะพะปะถะฝะฐ ะฑั‹ั‚ัŒ ััƒะฟะตั€ ะพะฟะฐัะฝั‹ะผ ะธ ะฝะตะพะถะธะดะฐะฝะฝั‹ะผ ะผะตัั‚ะพะผ ะฝะฐ ะบะฐะถะดะพะผ ัˆะฐะณัƒ, ะธะณั€ะฐ ะดะพะปะถะฝะฐ ะฑั‹ั‚ัŒ ั…ะฐั€ะดะบะพั€ะฝะพะน, ะฝะพ ะพะฑั‰ะฐั ัั‹ั€ะพัั‚ัŒ ั€ะตะปะธะทะฝะพะน ะฒะตั€ัะธะธ ั‚ะฐะบะถะต ั€ะฐะทะฑะธะฒะฐะตั‚ ะธ ัั‚ัƒ ั„ะพั€ะผัƒะปัƒ, ะธะฝั‚ะตั€ะตัะฝะพ ะปะธัˆัŒ ะฟะตั€ะฒั‹ะน ั‡ะฐั ะพั‚ะบั€ั‹ั‚ะพะณะพ ะผะธั€ะฐ ะธะณั€ั‹ (ะฝะต ัั‡ะธั‚ะฐั ะบะพั€ะธะดะพั€ะฝะพะต ัƒะปัŒั‚ั€ะฐ ะดะพะปะณะพ ะฒัั‚ัƒะฟะปะตะฝะธะต-ะพะฑัƒั‡ะตะฝะธะต ะผะตั…ะฐะฝะธะบะฐะผ), ะบะพะณะดะฐ ั‚ั‹ ะบะฐะบ ะฒ ะพั€ะธะณะธะฝะฐะปัŒะฝะพะผ ัั‚ะฐะปะบะฐั‡ะต ะตั‰ั‘ ะฝะธั‡ะตะณะพ ะฝะต ะฟะพะฝะธะผะฐะตัˆัŒ ะธ ะธั‰ะตัˆัŒ ั…ะพั‚ัŒ ะบะฐะบัƒัŽ-ั‚ะพ ะฟัƒัˆะบัƒ, ะฑะตะณะฐั ะฝะฐ ะฒัะต 4 ัั‚ะพั€ะพะฝั‹ ะฟั‹ั‚ะฐัััŒ ะฝะต ัƒะผะตั€ะตั‚ัŒ ะพั‚ ะฟะฐั€ั‹ ะฒั‹ัั‚ั€ะตะปะพะฒ ะฑะฐะฝะดัŽะบะพะฒ, ะฐ ะฒะพั‚ ะฟะพั‚ะพะผ ัƒะถะต ะฒััŽ ะธะณั€ัƒ ะฟั€ะธ ะณั€ะฐะผะพั‚ะฝะพะผ ั€ะฐัะฟั€ะตะดะตะปะตะฝะธะธ ั€ะตััƒั€ัะฐะผะธ ะผะพะถะฝะพ ะบะฐะบ ะธ ั€ะฐะฝัŒัˆะต ะพั‚ั‹ะณั€ั‹ะฒะฐั‚ัŒ ัะธะผัƒะปัั‚ะพั€ ั‚ะพั€ะณะฐัˆะฐ ั ะฝะพัˆะตะฝะธะตะผ ัะพ ัะบะพั€ะพัั‚ัŒัŽ ัƒะปะธั‚ะบะธ ะฟะพัั‚ะพัะฝะฝะพะณะพ ะฟะตั€ะตะณั€ัƒะทะฐ ะฟะพ 100 ะบะธะปะพะณั€ะฐะผะธ ะฒ ั€ัŽะบะทะฐะบะต ะธ ั…ะฐะฟะฐะฝัŒั ะบะฐะถะดะพะณะพ ะผัƒัะพั€ะฐ ะปะธัˆัŒ ะฑั‹ ัะปะธั‚ัŒ ัั‚ะพ ะฒัั‘ ะทะฐ ะดะพะฟะพะปะฝะธั‚ะตะปัŒะฝั‹ะต ะฟะฐั€ัƒ ะบะพัะฐั€ะธะบะพะฒ ัƒ ะฟั€ะพะดะฐะฒั†ะฐ (ะขัƒั‚ ะพัั‚ะฐะฒะธะปะธ ะฒั‹ะฟะฐะดะตะฝะธั ั‡ะฐัั‚ะธั‡ะฝะพ ัะปะพะผะฐะฝะฝั‹ั… ะพั€ัƒะถะตะบ ะฟะพั‡ั‚ะธ ั ะบะฐะถะดะพะณะพ ะผะพะฑะฐ, ะฝะพ ะธ ั‡ะฐัั‚ะพั‚ะฐ ะฒั‹ะฟะฐะดะตะฝะธั ะบั€ะฐัะฝะพะณะพ ัะพัั‚ะพัะฝะธั, ะฝะตะณะพะดะฝะพะณะพ ะดะฐะถะต ะดะปั ะปั‘ะณะบะธั… ะฑะฐะฑะพะบ, ะพัั‚ะฐะปะฐััŒ ะฟั€ะตะถะฝะตะน)
ะขะฐะบ ั‡ั‚ะพ ัะพะฒะตั‚ัƒัŽ ะธะทัƒั‡ะฐั‚ัŒ ั‚ะพะปัŒะบะพ ะพะบะพะปะพ ััŽะถะตั‚ะฝั‹ะต ะปะพะบะฐั†ะธะธ, ะฐ ะฝะต ะบะฐะบ ั ะฟั€ะพัั€ะฐั‚ัŒ ะฝะฐ 100% ะพัะผะพั‚ั€ ะฑะพะปะตะต 150 ั‡ะฐัะพะฒ ัะฒะพะตะณะพ ะฒั€ะตะผะตะฝะธ, ะฝะต ัั‚ะพะธะปะพ ะพะฝะพ ั‚ะพะณะพ, ั ะพะดะฝะพะน ัั‚ะพั€ะพะฝั‹ ั…ะพั€ะพัˆะพ, ั‡ั‚ะพ ะพะฝะธ ะฒะพััะพะทะดะฐะปะธ ะฟะพั‡ั‚ะธ ะฒัะต ะบะฐั€ั‚ั‹ ะพั€ะธะณะธะฝะฐะปะฐ, ัะดะตะปะฐะปะธ ะธั… ะณะพั€ะฐะทะดะพ ะฑะพะปัŒัˆะต, ะธ ะปะพะณะธั‡ะฝะพ ัะฒัะทะฐะปะธ ะธั… ะผะตะถะดัƒ ัะพะฑะพะน ะ‘ะ•ะ— ะฒััะบะธั… ะ—ะะ“ะ ะฃะ—ะžะš, ะฝะพ ะพั‰ัƒั‰ะตะฝะธั "ะฐััะตั‚-ั„ะปะธะฟะฐ" ะฒะพ ะผะฝะพะณะธั… ะผะตัั‚ะฐั… ะฝะต ัƒั…ะพะดะธั‚.
ะŸั€ะธ ัั‚ะพะผ ะฒ ะกั‚ะฐะปะบะตั€ 2 ะตัั‚ัŒ ะฒะตั‰ะธ, ะบะพั‚ะพั€ั‹ะต ะฒัะต ะถะต ะฝะตะผะฝะพะณะพ ะบะพะผะฟะตะฝัะธั€ัƒัŽั‚ ะฝะพะฒะพะณั€ะฐั„ะพะฝะธัั‚ัƒัŽ ะฐั‚ะผะพัั„ะตั€ัƒ, ั‚ะพ, ั‡ั‚ะพ ะฒะพั‚ ะดะตะนัั‚ะฒะธั‚ะตะปัŒะฝะพ ะผะพะถะฝะพ ะฝะฐะทะฒะฐั‚ัŒ ัˆะฐะณะพะผ ะฒะฟะตั€ั‘ะด - ัั‚ะพ ะฐะฝะพะผะฐะปะธะธ (ะธ ะฟะพะณะพะดะฝั‹ะต ัƒัะปะพะฒะธั), ะฐะฒั‚ะพั€ั‹ ะธะทะพะฑั€ะตั‚ะฐั‚ะตะปัŒะฝะพ ะฟะพั€ะฐะฑะพั‚ะฐะปะธ ะฝะฐะด ัั„ั„ะตะบั‚ะฐะผะธ (ะฝะต ั‚ะฐะบ ะบะฐะบ ะธะฝะดะธ-ั€ะฐะทั€ะฐะฑั‹ Pacific Drice, ะฝะพ ะฒัั‘ ะถะต), ะพัั‚ะฐะฒะธะปะธ ะฝะต ั‚ะพะปัŒะบะพ ะฒัะตะผ ะทะฝะฐะบะพะผั‹ะต, ะฝะพ ะธ ะฝะฐั‚ั‹ะบะฐะปะธ ะฟะพ ะฟะพะปัะผ ัะพะฒะตั€ัˆะตะฝะฝะพ ะฝะพะฒั‹ะต ะฒะธะดั‹ ะฐะฝะพะผะฐะปัŒะฝั‹ั… ะฟั€ะพัั‚ั€ะฐะฝัั‚ะฒ, ะณะตะนะผะฟะปะตะนะฝะพ ั‚ะพะปัŒะบะพ ะฟะฐั€ะพั‡ะบัƒ ะฒั‹ะทะพะฒัƒั‚ ะธะฝั‚ะตั€ะตั, ะฝะพ ะฒะธะทัƒะฐะปัŒะฝะพ ะพั‡ะตะฝัŒ ั€ะฐะดัƒะตั‚ ะณะปะฐะท.
ะ’ะพะพะฑั‰ะต ะตัั‚ัŒ ะฟะฐั€ัƒ ะผะตัั‚ ะฟั€ัะผะพ ะฒั‹ะทั‹ะฒะฐัŽั‰ะธั… ะผัƒั€ะฐัˆะบะธ, ะฝะพ ัั‚ะพ ั‚ะพะปัŒะบะพ ั„ะธะฝะฐะปัŒะฝะฐั "ะŸั€ะธะฟัั‚ัŒ" ะธ ะผะตัั‚ะฐ ั€ัะดะพะผ ั ะฝะตะน, ะฝัƒ ะทะฐะฑั€ะพัˆะบะธ ะพะฝะธ ะฒัะตะณะดะฐ ะฐั‚ะผะพัั„ะตั€ะฝั‹ะต. ะšัั‚ะฐั‚ะธ, ั‡ั‚ะพ ะตั‰ั‘ ะฒัะฟะพะผะฝะธะป, ะฑัƒะฝะบะตั€ั‹ ะฒ ะฝะพะฒะพะน ะณั€ะฐั„ะธะบะต ะฒะพะพะฑั‰ะต ะฝะต ัั‚ั€ะฐัˆะฝั‹ะต, ะบ ัะพะถะฐะปะตะฝะธัŽ.
(ะฏ ะตั‰ั‘ ะฝะต ะฟะพะฝัะป, ะฐ ะ—ะพะฝะฐ ะพะฝะฐ ะผะตะฝัะตั‚ัั ั…ะพั‚ั-ะฑั‹ ะฐะฝะพะผะฐะปะธะธ?? ะธะปะธ ะฒัั‘ ัั‚ะฐั‚ะธั‡ะฝะพะต..)
ะะฐ ะฟะตั€ะฒะพะน ะปะพะบะฐั†ะธะธ "ะ—ะฐะปะตััŒะต" ะตัั‚ัŒ ะตั‰ั‘ ะพั‡ะตะฝัŒ ะฒะฐะนะฑะพะฒะฐั ambient-ะผัƒะทั‹ะบะฐ, ะฟั€ัะผ ะฟั€ะพะฑะธั€ะฐัŽั‰ะฐั ะดะพ ะผัƒั€ะฐัˆะตะบ, ะบะพะผะฟะพะทะธั‚ะพั€ ะฝะฐะฟะธัะฐะป ั‚ั€ะตะบะธ, ะดะตะนัั‚ะฒะธั‚ะตะปัŒะฝะพ AAA-ัƒั€ะพะฒะฝั, ะฝะพ ะฝะต ะฒัั‘ ั‚ะฐะบ ะพะดะฝะพะทะฝะฐั‡ะฝะพ, ะดะฐะถะต ะผัƒะทั‹ะบะฐ ะธะณั€ั‹ ัั‚ั€ะฐะดะฐะตั‚ ะพั‚ ะตั‘ ะณะปะฐะฒะฝะพะน ะฟั€ะพะฑะปะตะผั‹ - ะฟั€ะพะฑะปะตะผั‹ "ะœะฐััˆั‚ะฐะฑะฐ ั€ะฐะดะธ ะผะฐััˆั‚ะฐะฑะฐ", ะฒัะต ะบะพะผะฟะพะทะธั†ะธะธ ะฝะตะฒะตั€ะพัั‚ะฝะพ ั€ะฐัั‚ัะฝัƒั‚ั‹, ะฐ ะพะฑั‰ะธะน ะฐะปัŒะฑะพะผ ะธะดั‘ั‚ ะŸะžะงะขะ˜ 8 ะงะะกะžะ’!! ะ’ ะธั‚ะพะณะต 90% ัั‚ะพ ะบะฐะบะฐั-ั‚ะพ ั„ะพะฝะพะฒะฐั ั‚ะธัˆะธะฝะฐ.. ะŸะพะฝะธะผะฐะตั‚ะต, ะฒ ัั‚ะพะผ ะฒะตััŒ ะกั€ะฐะปะบะตั€ 2, ะฐะฒั‚ะพั€ั‹ ะฝะต ัะฟั€ะฐะฒะธะปะธััŒ ั ะทะฐะฟะพะปะฝะตะฝะธะตะผ ะพะณั€ะพะผะฝั‹ั… ะพะฑัŠะตะผะพะฒ ะธะณั€ั‹ ะบะพั‚ะพั€ัƒัŽ ะพะฝะธ ะฒ ัะฒะพะธั… ะผะตั‡ั‚ะฐั… ะฝะฐั„ะฐะฝั‚ะฐะทะธั€ะพะฒะฐะปะธ, ะดะฐ ะธ ะฝะธะบั‚ะพ ะฑั‹ ะฝะต ัะฟั€ะฐะฒะธะปัั, ะธ ั‡ั‚ะพะฑั‹ ะฟะพะปัƒั‡ะธั‚ัŒ ัƒะดะพะฒะพะปัŒัั‚ะฒะธะต ะพั‚ ัั‚ะธั… ัะฐะผั‹ั… 10% ั‚ะตะฑะต ะธ ะฝะฐะดะพ ั‚ะตั€ะฟะตั‚ัŒ ะฟัƒัั‚ะพั‚ัƒ , ะบะพั‚ะพั€ะฐั ะตั‰ั‘ ะธ ะดะพะฟะพะปะฝะธั‚ะตะปัŒะฝะพ ั€ะฐะทะดั€ะฐะถะฐะตั‚ ะบะปะฐััะธั‡ะตัะบะธะผะธ ะดะปั ัะตั€ะธะธ ะฑะฐะณะฐะผะธ ะธ ะฟะปะพั…ะพะน ะพะฟั‚ะธะผะธะทะฐั†ะธะตะน (ะฝัƒ ัะตั€ัŒั‘ะทะฝะพ, ะกั‚ะฐะปะบะตั€ ะฑะตะท ัั‚ะพะณะพ ะฝะต ะฑั‹ะป ะฑั‹ ัะพะฑะพะน), ะฟะพัั‚ะพะผัƒ ั ะธ ะดะตะปะฐัŽ ะฒั‹ะฒะพะด, ั‡ั‚ะพ ะธะณั€ะฐ ะบะฐะบ ะฝะฐ ั€ะตะปะธะทะต, ั‚ะฐะบ ะธ ะดัƒะผะฐัŽ, ั ะพะฑะฝะพะฒะปะตะฝะธัะผะธ, ะพัั‚ะฐะฝะตั‚ัั ั‚ะพะปัŒะบะพ ะดะปั ั„ะฐะฝะฐั‚ะพะฒ ะบัƒะปัŒั‚ะพะฒะพะณะพ ะพั€ะธะณะธะฝะฐะปะฐ, ะฝะพ ัะฐะผะฐ ะบัƒะปัŒั‚ะพะฒะพะน ะฝะธะบะพะณะดะฐ ะฝะต ัั‚ะฐะฝะตั‚.
ะ˜ะท ัะพั…ั€ะฐะฝั‘ะฝะฝั‹ั… ะฟะปัŽัะพะฒ ัƒ ะฝะฐั ั‚ัƒั‚ ะพะณั€ะพะผะฝั‹ะน ะฐั€ัะตะฝะฐะป ะฒัะตั… ะทะฝะฐะบะพะผั‹ั… ะฒะธะดะพะฒ ะฑั€ะพะฝะธ, ะธ ะพั€ัƒะถะธั, ะตะณะพ ะฟั€ะพัั‚ะพ ะณะธะณะฐะฝั‚ัะบะพะต ะบะพะปะธั‡ะตัั‚ะฒะพ ะฒะธะดะพะฒ, ะธ ะฒะฝัƒัˆะธั‚ะตะปัŒะฝะพะต ะบะพะปะธั‡ะตัั‚ะฒะพ ะผะพะดะธั„ะธะบะฐั†ะธะน ะดะปั ะบะฐะถะดะพะณะพ ั ะฒะฝะตัˆะฝะธะผะธ ะฒะธะดะพะธะทะผะตะฝะตะฝะธัะผะธ (ะพัะพะฑะตะฝะฝะพ ะฟั€ะธะบะพะปะพะปะฐ ะดะฒะพะนะฝะฐั ะพะฑะพะนะผะฐ ะฝะฐ GP37), ะธะผะฟะฐะบั‚ ะพั‚ ัั‚ั€ะตะปัŒะฑั‹ ะฝะตะฟะปะพั…ะพะน, ะธ ะฟะพะฝัั‚ะฝะพ ั‡ั‚ะพ ะปัƒั‡ัˆะต ะบั€ะธะฒะพะฒะฐั‚ะพะน ัั‚ั€ะตะปัŒะฑั‹ 2007 ะณะพะดะฐ, ั‚ัƒั‚ ะตั‰ั‘ ะฟั€ะพั€ะฐะฑะพั‚ะฐะปะธ ัะบั€ะธะฟั‚ั‹ ััƒะฟะตั€-ัั„ั„ะตะบั‚ะฝั‹ั… ะฒะฐั€ะธะฐะฝั‚ะพะฒ ะพัะตั‡ะตะบ ะธ ะทะฐะบะปะธะฝะธะฒะฐะฝะธั, ะฟั€ะธั‡ั‘ะผ ะพะดะฝะฐ ะธ ั‚ะฐะถะต ะฐะฝะธะผะฐั†ะธั ะดะฐะถะต ะฝะต ะฝะฐะดะพะตะดะฐะตั‚, ะฝะฐะฒะตั€ะฝะพะต, ะตะดะธะฝัั‚ะฒะตะฝะฝะพะต, ั‡ั‚ะพ ะฒ ะธะณั€ะต ัะดะตะปะฐะฝะพ ะดะปั "ะธะผะผะตั€ัะธะฒะฝะพัั‚ะธ", ะผะพะถะฝะพ ะตั‰ั‘ ะฑั€ัƒั‚ะฐะปัŒะฝะพ ะบัƒัˆะฐั‚ัŒ ะผััะพ ะบะพะฝัะตั€ะฒ ั ะฝะพะถะธั‡ะบะฐ ะธ ะฒัะบั€ั‹ะฒะฐั‚ัŒ ะฑั€ะตะฝะดะพะฒั‹ะน ัะฝะตั€ะณะตะฝั‚ะธะบ ั ั…ะฐั€ะฐะบั‚ะตั€ะฝั‹ะผ ะทะฒัƒะบะพะผ, ะถะฐะปะบะพ ะฒ ัะฐะผะพะผ ะผะธั€ะต ะผะฐะปะพ ั ั‡ะตะผ ะฒะทะฐะธะผะพะดะตะนัั‚ะฒัƒะตัˆัŒ, ะฒะฝะต ะบะฐั‚ัั†ะตะฝ,
ะ˜ ะฒะพั‚ ัั‚ะพ ะตั‰ั‘ ะพะดะธะฝ ะฝะตัะพะผะฝะตะฝะฝั‹ะน ะฟะปัŽั ะฒั‚ะพั€ะพะน ั‡ะฐัั‚ะธ, ะฒะพ-ะฟะตั€ะฒั‹ั… ั‚ัƒั‚ ะพั‡ะตะฝัŒ ั‡ะธั‚ะตั€ะฝะพ ะฒะพะทะฒั€ะฐั‰ะฐัŽั‚ ะฒัะตั… ะบะปะฐััะธั‡ะตัะบะธั… ะฟะตั€ัะพะฝะฐะถะตะน, ะธ ะฑะพะปัŒัˆัƒัŽ ั‡ะฐัั‚ัŒ ััŽะถะตั‚ะฐ ะฑะฐะทะธั€ัƒัŽั‚ ะฒะพะบั€ัƒะณ ะฝะธั… ะธ ะพั‚ัั‹ะปะพะบ ะฝะฐ ะฟั€ะพัˆะปะพะต, ะจั€ะฐะผ ั‚ัƒั‚ ะฒะพะพะฑั‰ะต ะฟั‹ั‚ะฐะตั‚ัั ะบะพัะฟะปะตะธั‚ัŒ ะ’ะฐะฐัะฐ ะธะท ะคะฐั€ ะšั€ะฐั ะธ ั‡ัƒั‚ัŒ ะปะธ ะฝะต ะฟะปััะฐั‚ัŒ ะบะฐะถะดั‹ะน ั€ะฐะท ะฒ ะบะฐะดั€ะต, ั ะณั€ะฐะดัƒัะพะผ ะฟะฐั„ะพัะฐ, ะบะพะฝะตั‡ะฝะพ ะถะต, ะฟะตั€ะตะฑะพั€, ะธ ะฝะฐะดะพ ะฟะพะฝะธะผะฐั‚ัŒ, ั‡ั‚ะพ 90% ะธัั‚ะพั€ะธะธ - ัั‚ะพ ะฒัั‘ ะตั‰ะต ะดะธะฐะปะพะณะธ, ะฝะพ ั‚ะตะฟะตั€ัŒ ะพั‡ะตะฝัŒ ัั‚ะธะปัŒะฝะพ ะฟะพัั‚ะฐะฒะปะตะฝะฝั‹ะต, ะฑะปะฐะณะพะดะฐั€ั ะ ัƒััะบะพะผัƒ ั€ะตะถะธััั‘ั€ัƒ ะ˜ะปัŒะต ะะฐะนัˆัƒะปะปะตั€ัƒ ะดะฐ ะดะฐ! ะžะฝ ะฒั€ะพะดะต ะทะฐะฝะธะผะฐะปัั ั‚ะพะปัŒะบะพ ะทะฐั…ะฒะฐั‚ะพะผ ะดะฒะธะถะตะฝะธะน, ะฝะพ ััƒะดั ะฟะพ ะตะณะพ ะปัŽะฑะฒะธ ะบ ั„ะธะปัŒะผะฐะผ ะพั‚ ะฟะตั€ะฒะพะณะพ ะปะธั†ะฐ, ะดัƒะผะฐัŽ ั‡ั‚ะพ ะฝะต ั‚ะพะปัŒะบะพ + ะฟั€ะธััƒั‚ัั‚ะฒัƒะตั‚ ะตะณะพ ะบะฐะผะตะพ ะฒ ะฒะธะดะต ะบะปัŽั‡ะตะฒะพะณะพ ะฟะตั€ัะพะฝะฐะถะฐ (ะšัั‚ะฐั‚ะธ, ั ะฒะธะดะตะป ะฒะธะดะพั ะฝะฐ ะฎั‚ัƒะฑะต, ั‡ั‚ะพ ะตัะปะธ ะพัั‚ะฐะฒะธั‚ัŒ ะผะฝะพะณะพ ั„ะธะทะธั‡ะฝั‹ั… ะฟั€ะตะดะผะตั‚ะพะฒ ะฒ ะบะพะผะฝะฐั‚ะต ั ะบะฐั‚ัั†ะตะฝะพะน, ั‚ะพ ั€ัƒะบะธ ะธ ะฝะพะณะธ ะฟะตั€ัะพะฝะฐะถะตะน ะฑัƒะดัƒั‚ ะฟั€ัะผ ะฟะพ ั€ะตะฐะปัŒะฝะพะน ั„ะธะทะธะบะต ั€ะตะฐะณะธั€ะพะฒะฐั‚ัŒ ะฝะฐ ะฒะตััŒ ัั‚ะพั‚ ั…ะปะฐะผ, ะฝะพ ัะฐะผ ะฝะต ะฟั€ะพะฒะตั€ัะป). ะžะฟัั‚ัŒ ะถะต, ััŽะถะตั‚ ั…ะพั€ะพัˆะพ ั€ะฐะทะณะพะฝัะตั‚ัั ะฒ ะฝะฐั‡ะฐะปะต, ะฝะพ ะฟั€ะพัะตะดะฐะตั‚ ะฑะพะปัŒัˆัƒัŽ ั‡ะฐัั‚ัŒ ะธะณั€ั‹, ะฐ ะฝะพัั‚ะฐะปัŒะณะธั‡ะตัะบะธะต ั‡ัƒะฒัั‚ะฒะฐ ะฒั‹ะทะพะฒะตั‚ ั‚ะพะปัŒะบะพ ัƒ ัƒะถะต ะธะณั€ะฐะฒัˆะธั…, ะฝะพ ั…ะพั‚ั-ะฑั‹ ะธะผะตะตั‚ ะฝะตัะบะพะปัŒะบะพ ะบะพะฝั†ะพะฒะพะบ, ะฝะตัะบะพะปัŒะบะพ ะธะท ะบะพั‚ะพั€ั‹ั… ะดะพ ะดั€ะพะถะธ ะผั€ะฐั‡ะฝั‹ะต. ะ’ ั†ะตะปะพะผ, ะฒัั‘ ะตั‰ะต ะฟั€ะพั…ะพะดะฝัะบะพะฒั‹ะน ัั†ะตะฝะฐั€ะธะน, ะปะธั‡ะฝั‹ะน ั€ะพัั‚ ะณะปะฐะฒะฝะพะณะพ ะณะตั€ะพั "ะกะบะธั„ะฐ" ั€ะฐัะบั€ั‹ั‚ ะฟะปะพั…ะพ, ะฟั€ะพัั‚ะพ ะฟะพะดะฐั‡ะฐ ะฟะพะดะธะฝะฐะผะธะฝั‡ะตะต, ะธ ะดะฐะถะต ะฝะตั‚ ะบะฐะบะพะน-ั‚ะพ ัะฐั‚ะธั€ั‹ ะฝะฐ ั€ะตะฐะปัŒะฝั‹ะต ัะพะฑั‹ั‚ะธั, ะตัะปะธ ะฒั‹ ะฑะพัะปะธััŒ, ะปะธัˆัŒ ัะปะตะผะตะฝั‚ะพะฒ ะบัƒะปัŒั‚ัƒั€ั‹ ั€ะพะดะธะฝั‹ ั€ะฐะทั€ะฐะฑะพะฒ ัั‚ะฐะปะพ ะฑะพะปัŒัˆะต. ะ ะฒะพั‚ ั€ะฐะทะฒะตั‚ะฒะปั‘ะฝะฝะพัั‚ัŒ ะธัั‚ะพั€ะธะธ ะฟะพ ััƒั‚ะธ ัะฒะพะดะธั‚ัั ะบ ะฒั‹ะฑะพั€ัƒ ะณั€ัƒะฟะฟะธั€ะพะฒะบะธ (ะฒะผะตัั‚ะพ ะฒะพะตะฝะฝั‹ั… ั‚ะตะฟะตั€ัŒ "ะ’ะฐั€ั‚ะฐ"), ะปะธะฑะพ ะผะพะถะฝะพ ะฑั‹ั‚ัŒ ะฟั€ะพั‚ะธะฒ ะฒัะตั…, "ัั‚ะพ ะดะตะนัั‚ะฒะธะต ะฑัƒะดะตั‚ ะธะผะตั‚ัŒ ะฟะพัะปะตะดัั‚ะฒะธะต" ั€ะฐะฑะพั‚ะฐะตั‚ ั‚ะพะปัŒะบะพ ะฟั€ะธ ะบะปัŽั‡ะตะฒั‹ั… ััŽะถะตั‚ะฝั‹ั… ะฟะพะฒะพั€ะพั‚ะฐั…, ัƒะฒั‹, ะธะท-ะทะฐ ัั‚ะพะณะพ ะฟะตั€ะตะฟั€ะพั…ะพะดะธั‚ัŒ ะกั‚ะฐะปะบะตั€ 2 ะพัะพะฑะพ ะฝะตะธะฝั‚ะตั€ะตัะฝะพ, ะบะปะฐััะธั‡ะตัะบะพะณะพ ะฒัั‚ัƒะฟะปะตะฝะธั ะฒ ะปัŽะฑัƒัŽ ะณั€ัƒะฟะฟะธั€ะพะฒะบัƒ ั‚ัƒั‚ ะฝะตั‚ัƒ,
ะ”ะฐ, ั‚ะฐะผ ะตัั‚ัŒ ะฟะฐั€ัƒ ะฟั€ะธะบะพะปะพะฒ ั ัะฐะนะด-ะบะฒะตัั‚ะฐะผะธ, ะบะพั‚ะพั€ั‹ะต ะธะฝะพะณะดะฐ ะผะพะถะฝะพ ะพั‡ะตะฝัŒ ั…ะธั‚ั€ะพ ะฟั€ะพะนั‚ะธ, ะฝะพ ั‚ะฐ ะถะต ัะฐะผะฐั ะฟั€ะพะฑะปะตะผะฐ "ะผะฐััˆั‚ะฐะฑะฐ", ัั‚ะพ ะฝะต ะฒัะตะณะดะฐ ะฟั€ะพัั‚ะพ ะฟั€ะธะฝะตัะธ-ะฟะพะดะฐะน, ะฝะพ ะฒัะต ะพะฝะธ ะฟั€ะพั€ะฐะฑะพั‚ะฐะฝั‹ ั‚ะพะปัŒะบะพ ะฒ ะฝะฐั‡ะฐะปัŒะฝะพะผ "ะ—ะฐะปะตััŒะต", ะบะพั‚ะพั€ะฐั ะฑั‹ะปะฐ ัะดะตะปะฐะฝะฐ ะดะปั ะถัƒั€ะฝะฐะปะธัั‚ะพะฒ, ั‚ะฐะผ ะฟั€ัะผ ะฟะปะพั‚ะฝะฐั ะบะพะฝั†ะตะฝั‚ั€ะฐั†ะธั ะทะฐะดะฐะฝะธะน ะฝะฐ ะบะฒะฐะดั€ะฐั‚ะฝั‹ะน ะผะตั‚ั€, ะฐ ะดะฐะปัŒัˆะต ะฟัƒัั‚ั‹ะต ะฟะพะปั c ะพะดะฝะธะผ ะบะฐะปะตะบะพะน ะฝะฐ 3 ั‡ะฐัะฐ ะธะณั€ั‹, ะฝะพ ัั‚ะพ ะฒัั‘ ะตั‰ะต ะฟะพะปัƒั‡ัˆะต ั‡ะตะผ ะฟะตั€ะฒั‹ั… ะกั‚ะฐะปะบะฐั‡ะตะน, ะขะฐะบะถะต ะฒ ะธะณั€ะต ะฝะตั‚ัƒ, ะธ ะฒั€ัะดะปะธ ะฑัƒะดะตั‚ ะดะพ ัะธั… ะฟะพั€ ัƒะฝะธะบะฐะปัŒะฝะพะน ัะธัั‚ะตะผั‹ A-Life, ะบะพะณะดะฐ ะฒัะต ะผะพะฑั‹ ั…ะพะดะธะปะธ ะฒ ะปัŽะฑะพะน ั‚ะพั‡ะบะต ะผะธั€ะฐ ะฟะพ ัะฒะพะธะผ ะดะตะปะฐะผ ะฝะตะทะฐะฒะธัะธะผะพ ะพั‚ ะธะณั€ะพะบะฐ (ั‚ะฐะบ ะบะฐะบ ะพั‚ะฒะตั‡ะฐะฒัˆะธะน ะทะฐ ัั‚ะพ ะฟั€ะพะณั€ะฐะผะผะธัั‚ ะฟะพะบะธะฝัƒะป ะบะพะผะฟะฐะฝะธัŽ), ั‚ะตะฟะตั€ัŒ ัั‚ะพ ะฟั€ะพัั‚ะพ ั€ะตัะฟะฐัƒะฝั‹ ะทะฐ ัะฟะธะฝะพะน ะธะณั€ะพะบะฐ ะฟะพ ัะบั€ะธะฟั‚ะฐะผ, ะธะท-ะทะฐ ั‡ะตะณะพ ะตัะปะธ ะฟั‹ั‚ะฐะตัˆัŒัั ะพะฑะพะนั‚ะธ ะฟะพ ะบั€ัƒะณัƒ ะพัะผะพั‚ั€ะตั‚ัŒ ะบะฐะบะพะต-ั‚ะพ ะผะตัั‚ะพ ะฟั€ะธะดั‘ั‚ัั ัั‚ะพะปะบะฝัƒั‚ัŒัั ั ะพะดะฝะธะผะธ ะธ ั‚ะตะผะธ ะถะต ะฟั€ะพั‚ะธะฒะฝะธะบะฐะผะธ ะฝะตัะบะพะปัŒะบะพ ั€ะฐะท.. ะฝะฐะฒะตั€ะฝะพะต, ะฝะต ะฝะฐะดะพ ะพะฑัŠััะฝัั‚ัŒ ะฟะพั‡ะตะผัƒ ัั‚ะพ ัะฐะผั‹ะน ะฑะตััั‡ะธะน ั„ะฐะบั‚ะพั€ ั€ะตะปะธะทะฝะพะณะพ ะฑะธะปะดะฐ,
ะ ะธะท ะดั€ัƒะณะธั… ะผะตะปะบะธั… ั€ะฐะทะดั€ะฐะถะธั‚ะตะปะตะน ั‚ัƒั‚ ั‡ะตั€ะตัั‡ัƒั€ ะฑั‹ัั‚ั€ั‹ะต ะธ "ะถะธั€ะฝั‹ะต" ะบั€ะพะฒะพัะพัั‹, ั‚ั‹ ั‚ะธะฟะพ ะดะพะปะถะตะฝ ะฒะธะดะตั‚ัŒ ะธั… ะฟะพ ัะปะตะดะฐะผ, ะฝะพ ะดะฐ ะดะฐ ั ั‚ะฐะบะพะน ัั‹ั€ะพัั‚ัŒัŽ ะธะณั€ั‹, ะบะพะฝะตั‡ะฝะพ ะฑะปะธะฝ ัƒะฒะธะดะธัˆัŒ ั‡ั‚ะพ-ะฝะธะฑัƒะดัŒ.. ะŸั€ะธะผะตะฝะตะฝะธะต ะฐะฟั‚ะตั‡ะตะบ ะธ ะตะดั‹ ั‚ะตะฟะตั€ัŒ ะฐะฒั‚ะพะผะฐั‚ะธั‡ะตัะบะธ ะทะฐะฑะธะฝะดะตะฝะพ, ะฝะพ ะฟั€ะธ ัั‚ะพะผ ะฝะฐะดะพ ะฒัะตะณะดะฐ ะฝะตัะบะพะปัŒะบะพ ัะตะบัƒะฝะด ะทะฐะบะปะฐะดั‹ะฒะฐั‚ัŒ ะฝะฐ ะฐะฝะธะผะฐั†ะธัŽ ะดะปั ั…ะฐั€ะดะบะพั€ะฝะพัั‚ะธ, ะฒ ั‚ะพะผ ั‡ะธัะปะต ะฝะฐ ะดะพัั‚ะฐะฒะฐะฝะธะต ะธะท ะบะพะฑัƒั€ั‹ ะพั€ัƒะถะธั ะธะปะธ ะฟั€ะธั†ะตะปะธะฒะฐะฝะธั, ะฝะพ ั ัƒะถะต ะพะฑัŠััะฝัะป ะฟะพั‡ะตะผัƒ ัั‚ะพั‚ ะฐัะฟะตะบั‚ ะธะณั€ั‹ ะฝะต ั€ะฐะฑะพั‚ะฐะตั‚. ะงั‚ะพะฑั‹ ะฒั‹ั‚ะฐั‰ะธั‚ัŒ ะฟะพะดัั‚ะฒะพะปัŒะฝะธะบ ะฝะฐะดะพ ะฝะฐะถะฐั‚ัŒ ะฝะฐ tab ะธ ะฟะพั‚ะพะผ ัƒะดะตั€ะถะธะฒะฐั c, ัั‚ะพ ะบั€ะฐะนะฝะต ะฝะตัƒะดะพะฑะฝะพ ะธ ะฒ ะบัƒะฟะต ั ะดะพะปะณะพะน ะฐะฝะธะผะฐั†ะธะตะน ะฒะพะพะฑั‰ะต ัƒะฑะธะฒะฐะตั‚ ะปัŽะฑัƒัŽ ะฒั‹ะณะพะดัƒ ะธัะฟะพะปัŒะทะพะฒะฐะฝะธั. ะะพะฒั‹ะน ะธะฝั‚ะตั€ั„ะตะนั ะฒะพะพะฑั‰ะต ะบะฐะบะพะน-ั‚ะพ ะฟั€ะตัะฝะพ-ัˆะฐะฑะปะพะฝะฝั‹ะน, ะฝะพ ั‚ะตั€ะฟะธะผั‹ะน, ะทะฐั‚ะพ ะฒ ะทะฐะฟะธัะบะฐั… ะฟั€ะธะบะพะปัŒะฝั‹ะต ะฐั€ั‚ั‹. ะ•ั‰ั‘ ะธะท ะฟะพะปะตะทะฝะพะณะพ ะผะพะณัƒ ะฒัะฟะพะผะฝะธั‚ัŒ, ั‡ั‚ะพ ั‚ะตะฟะตั€ัŒ "ะฃะทะธ" ะผะพะถะฝะพ ะฒ ัะปะพั‚ ะฟะธัั‚ะพะปะตั‚ะฐ ะฒัั‚ะฐะฒะธั‚ัŒ, ะฑะฐะปะฐะฝั ะฐั€ั‚ะตั„ะฐะบั‚ะพะฒ ะฝะพั€ะผะฐะปัŒะฝั‹ะน, ะฒั‹ะฑั€ะพัั‹ ะพัั‚ะฐะปะธััŒ, ั‚ะตะฟะตั€ัŒ ะดะพัั‚ะฐั‚ะพั‡ะฝะพ ะบั€ะฐัะธะฒะพ.

๐Ÿ†ะ’ ะพะฑั‰ะตะผ, ัั‚ะพะธั‚ ะปะธ ะพะฝะฐ ั‚ะพะณะพ? ะžะฟั€ะตะดะตะปั‘ะฝะฝะพ, ะตัั‚ัŒ ััŽั€ะฟั€ะธะทั‹ ะฒ ะฝะฐั‡ะฐะปะต ะธ ะบะพะฝั†ะต. ะกั‚ะพะธั‚ ะปะธ ะตั‘ ั‚ะตั€ะฟะตั‚ัŒ, ะตัะปะธ ะธะณั€ะฐ ะฝะฐั‡ะธะฝะฐะตั‚ ั€ะฐะทะดั€ะฐะถะฐั‚ัŒ? ะะตั‚. ะŸะพั„ะธะบััั‚ ะปะธ ะฒัั‘ ะฟะฐั‚ั‡ะฐะผะธ? ะŸั€ะธัั‚ะฝะตะน ัั‚ะฐั‚ัŒ ะผะพะถะตั‚, ะฝะพ "ะบะพะฝั‚ะตะฝั‚ะฝั‹ะต" ะฟั€ะพะฑะปะตะผั‹ ะพะฝะธ ะฒั€ัะดะปะธ ะธัะฟั€ะฐะฒัั‚, ั‚ะฐะบ ั‡ั‚ะพ ะธ ะพั‚ะบะปะฐะดั‹ะฒะฐั‚ัŒ ะธะณั€ัƒ ะฝะฐ 5 ะปะตั‚ ั ะฝะต ะฒะธะถัƒ ัะผั‹ัะปะฐ (ะบัั‚ะฐั‚ะธ, ะดะปั ั "ะ›ะธะผะฐะฝัะบะพะผ" ะฒั‹ะนะดะตั‚ ะฑะพะปัŒัˆะต ั‡ะตะผ ั‡ะตั€ะตะท ะณะพะด ะธ ะดะพ ัะธั… ะฟะพั€ ะดะฐะถะต ะ”ะตะปัŽะบั-ะฒะตั€ัะธะธ ะฝะตั‚ ะดะปั ะฟั€ะพะดะฐะถะธ ะพั‚ะดะตะปัŒะฝะพ.. ะฐ ะฒะตะดัŒ ั‚ะฐะผ ะตั‰ั‘ ะผัƒะปัŒั‚ะธะฟะปะตะตั€ ะพะฑะตั‰ะฐะปะธ).
p.s. ะฃะดะธะฒะธั‚ะตะปัŒะฝะพ, ะบัั‚ะฐั‚ะธ, ะฝะพ ะ”ะตะปัŽะบั-ะฒะตั‰ะธ ะฝะต ะฟะพั€ั‚ัั‚ ะฑะฐะปะฐะฝั, ะฐ "ะดะพะฟะพะปะฝะธั‚ะตะปัŒะฝั‹ะน ััŽะถะตั‚ะฝั‹ะน ะบะฒะตัั‚" - ัั‚ะพ ะฟะพ ััƒั‚ะธ ะฟั€ะพัั‚ะพ ั‚ะฐะนะฝะธะบะธ ัะพ ัะบะธะฝั‡ะธะบะฐะผะธ. p.p.s. ะฃะฒั‹, ะฝะต ั…ะฒะฐั‚ะธะปะพ ะฑะตะทัƒะผะฝั‹ั… ัะฝะพะฒ ัะพะฑะฐะบะธ, ะฝะพ ะฟะพ ััŽะถะตั‚ัƒ ัƒ ะฝะฐัˆะตะณะพ ะฟะตั€ัะพะฝะฐะถะฐ ะพัะพะฑะพ ะบะพัˆะผะฐั€ะฐะผ ะธ ะฝะตะพั‚ะบัƒะดะฐ ะฒะทัั‚ัŒัั. ๐Ÿ˜ŠะŸะพะดะดะตั€ะถะธั‚ะต ะฟะพะดะฟะธัะบะพะน ะฝะฐ ะšัƒั€ะฐั‚ะพั€ะบัƒ ะกั‚ะธะผ: https://store.steampowered.com/curator/37365104
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You can S.T.A.L.K. people.
ยซBlew my mindยป
cool
ยซTime-testedยป
๐Ÿ“I play a new sโ€‹ะตั… game 1โ€‹8โ€‹+โ€‹) I can not get through it, very hard) Who played, help me โžค 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