Caffienator
23 reviews liked by Caffienator
God Hand
2006
dog i hate it here so much. i'm minding my own business, poisoning random passerbys with my Pimpy Son Opp, when this guy with a fuck-off arm walks up and starts doing Rising Tackles on my boys. He kicked one of them in the nuts and a crowd cheered. we're in the middle of the desert. I hit him with a club and then he started crying and we all felt really bad. Where's Jagi man. this shit blows, I want to go home.
im generally weary of the whole meta, self-aware, genre-riffing shtick these days but this is the absolute kindest, most gentle way someone could have the epiphany 'the series i have been working on is legitimately insane and has a target demographic of the most unwell people on the internet' and the MBTI/carrd.co/ao3/(insert niche subculture here) teens all interpreted it in bad faith. imagine going 'so no head?' to a work that fundamentally thinks well of you despite it all
Super Mario World
1990
what if when each level began it said "MARIO SHART!" and he ๐โ๐ธโโ๐ญโโ๐ฎโโ๐นโโ๐นโโ๐ชโโ๐ฉโ โ๐ญโโ๐ฎโโ๐ฒโโ๐ธโโ๐ชโโ๐ฑโโ๐ซโ!!!๐
WHAT TOP 5 ARE YOU SMOKING KENDRICK
BECAUSE MY TOP 5
IS
CROW
CROW
CROW
CROW
CROW
BECAUSE MY TOP 5
IS
CROW
CROW
CROW
CROW
CROW
At the moment of writing thereโs very little discourse about Laika online, mostly contained within Steam. And with Steam reviews being Steam reviews, people are defining this game through easily identifiable correlative qualifiers. Itโs set in a motorized wasteland, kinda like Mad Max! You ride a bike, so itโs Trials with a gun! The combat involves air pirouettes, literally My Friend Pedro! Itโs a cartoony castleroidvania, so basically Hollow Knight! Itโs easy to dismiss Laika as a hodgepodge pastiche of all things indie, especially in the season motley of overmarketed 90 metacritic releases. The best thing the developers could do in this environment was to release the demo version. It takes 15 minutes hands-on to realize youโre dealing with something special here.
When broken down to bare essentials, the ingredients are pretty familiar. Itโs a 2D-sidescroller and youโre on a bike. You balance the bike with the left stick and aim the gun with the right stick. Checkpoints are plentiful but it's always a one-hit kill for you or the enemies. Except, the bike is a large hitbox that shields you from bullets, and you have very little ammo in the clip before you have to reload the gun by doing an air backflip. These two are the brilliant integrals which allow Laika gain its own, completely unique moment-to-moment language. A bump on the road that sends you flying isnโt just an obstacle โ itโs an opportunity: either a defensive one to shield yourself from fire or a chance to regain ammo with an iffy flip. It leads to encounters of positional enemy prioritization, risky acrobatics, resource management and split-second decisions. It allows for boss fights that serve as ultimate tests of these particular player skills in more patterned, elaborate bouts. Itโs an unusual arrangement of mechanics you definitely need to try for yourself to see if it works for you. If it does though youโll find such a sick, satisfying system that presses many familiar buttons but plays a totally different tune.
Another structural aspect that impressed me highly is the fundamental purity of Laikaโs search action pace. I tend to go on the demo hunts every Steam Next Fest season, and it appears that the current trend in metroidvania design is maximalism โ more skill trees, more abilities, more gameplay modifiers, more quote on quote things to mess with. Thereโs nothing wrong with this approach (in fact just recently I really enjoyed Astlibra, and Iโm quite excited for Tevi too), but it makes me appreciate a game like Laika, where every upgrade feels like a radical option expanding power spike. In fact there are exactly two items that give you new traversal abilities โ and they are such an exciting change of paradigm that make you rethink the way you approach every gameplay moment. Itโs that game from the universe where System Shock 1 was the touchstone game design classic while more numbers driven System Shock 2 was relegated to a curious footnote in history.
The voice of Laika too is diametrically different from what you expect in the medium. Through the advent of prestige sad dad games we've been completely missing stories focused on motherhood and associated female growth โ and Laika is that exact tale. The explosive growth of Soulslikes prescribed exposition, The Lore, as the main worldbuilding tool โ Laika defines its world without a single written description of an event. The game goes against the established flow if it can benefit from it, but where it matters โ Laika preaches to the choir. As in, the anti-imperialist narrative about war, the atrocities it brings and how it warps the combatants, is, to say the least, appreciated in our current world. So are the serene moments of tranquility in-between skirmishes, accentuated by a wonderful vocal soundtrack.
As you can see, Iโm very passionately dazzled by Laika. Itโs one of the best game I played and artistically it came at exactly the right time. Give it a chance, donโt let it slip through the constant whirlpool of game releases. It deserves to be recognized as a classic.
When broken down to bare essentials, the ingredients are pretty familiar. Itโs a 2D-sidescroller and youโre on a bike. You balance the bike with the left stick and aim the gun with the right stick. Checkpoints are plentiful but it's always a one-hit kill for you or the enemies. Except, the bike is a large hitbox that shields you from bullets, and you have very little ammo in the clip before you have to reload the gun by doing an air backflip. These two are the brilliant integrals which allow Laika gain its own, completely unique moment-to-moment language. A bump on the road that sends you flying isnโt just an obstacle โ itโs an opportunity: either a defensive one to shield yourself from fire or a chance to regain ammo with an iffy flip. It leads to encounters of positional enemy prioritization, risky acrobatics, resource management and split-second decisions. It allows for boss fights that serve as ultimate tests of these particular player skills in more patterned, elaborate bouts. Itโs an unusual arrangement of mechanics you definitely need to try for yourself to see if it works for you. If it does though youโll find such a sick, satisfying system that presses many familiar buttons but plays a totally different tune.
Another structural aspect that impressed me highly is the fundamental purity of Laikaโs search action pace. I tend to go on the demo hunts every Steam Next Fest season, and it appears that the current trend in metroidvania design is maximalism โ more skill trees, more abilities, more gameplay modifiers, more quote on quote things to mess with. Thereโs nothing wrong with this approach (in fact just recently I really enjoyed Astlibra, and Iโm quite excited for Tevi too), but it makes me appreciate a game like Laika, where every upgrade feels like a radical option expanding power spike. In fact there are exactly two items that give you new traversal abilities โ and they are such an exciting change of paradigm that make you rethink the way you approach every gameplay moment. Itโs that game from the universe where System Shock 1 was the touchstone game design classic while more numbers driven System Shock 2 was relegated to a curious footnote in history.
The voice of Laika too is diametrically different from what you expect in the medium. Through the advent of prestige sad dad games we've been completely missing stories focused on motherhood and associated female growth โ and Laika is that exact tale. The explosive growth of Soulslikes prescribed exposition, The Lore, as the main worldbuilding tool โ Laika defines its world without a single written description of an event. The game goes against the established flow if it can benefit from it, but where it matters โ Laika preaches to the choir. As in, the anti-imperialist narrative about war, the atrocities it brings and how it warps the combatants, is, to say the least, appreciated in our current world. So are the serene moments of tranquility in-between skirmishes, accentuated by a wonderful vocal soundtrack.
As you can see, Iโm very passionately dazzled by Laika. Itโs one of the best game I played and artistically it came at exactly the right time. Give it a chance, donโt let it slip through the constant whirlpool of game releases. It deserves to be recognized as a classic.
Pentiment
2022
You always think you're doing the right thing in the moment. Time passes. Things fall apart. No longer safe in the hands of love. I told her a bedtime story. She was burned at the stake.
https://i.gyazo.com/76525f4af06a9a6194b6128055fe48d8.png
yeo's environmental design, soundtrack direction, and laissez-faire approach to 'structure' elevates the somber and dour proceedings here and the title's very much so animated by its refusal to guide the player in any strict sense. it's commendable how driven yeo is towards theme and feeling and the world has just enough in the way of flourishes to stimulate a sense of role-playing but too little to fully and succinctly become immersed in; yeo does well to play with this disconnect, causing the complete and utter listlessness of the game to swell and swell and continue to swell prior to the game's climax (if you could call it that) on a frigid november day
on the other hand...there's a dearth of particulars here for me to really feel invested in or compelled by. backtracking here: ringo ishikawa's ultimate success lies in a delicate marriage between the formal & aesthetic language of a kunio-kun game, and the - you'll have to forgive the reductive if undemanding comparison - exploratory, life-sim mechanics of something like shenmue. and the idea's so obvious, so axiomatic even in the kunio-kun games that ringo does little to iterate upon that idea, with certain environmental backgrounds and even mechanics feeling directly lifted from its NES progenitor. thrusting the lifesim framework to the forefront, then, is the most transformative quality of ringo and it achieves this by inviting players to test the boundaries of the world and create their own sense of meaning within that structure - that ringo obscures how tightly directed the game actually is only serves to further entrench just how well-considered and intelligent its design is as well. the game is also underscored by honest-to-god literary ambition which all eventually coalesces into an absolutely devastating ending but whatever i digress
point is, stone buddha...bit less going for it. it's a mood piece first and foremost - which, to its credit, its executes with total conviction and belief in the premise - but everything that you'd expect a game which probes into ennui would have is here, which honestly does it no favours. a lack of concrete narrative + good deal of economical prose invites some lovely interpretations, but you can see this specific ending coming a mile away and there's just too little that's actually transformative about it to really have the same sense of emotional resonance
sounds like im ragging but it's still a great time. unpolished sections and inelegant difficulty curve, sure, but it doesn't overstay its welcome and yeo's willingness to eschew conventional game design continues to delight. there's a lot to love about how the mechanics inform the atmosphere and how you eventually build an innate and instinctual feeling for exactly what you're supposed to do (and i particularly did enjoy how rote it felt when finally mastered - that contrast between what's supposed to be kinetic and improvisational versus the reality that you're a slowly advancing turret) but im also unconvinced that that part of the game was supposed to be intentionally monotonous like everyone says or whatever which does make me feel a bit of internal conflict. id bet my apartment on yeo designing the combat with a bottle of beluga going like 'yeaaaaaaaaaaaaaaa'. good for him
yeo's environmental design, soundtrack direction, and laissez-faire approach to 'structure' elevates the somber and dour proceedings here and the title's very much so animated by its refusal to guide the player in any strict sense. it's commendable how driven yeo is towards theme and feeling and the world has just enough in the way of flourishes to stimulate a sense of role-playing but too little to fully and succinctly become immersed in; yeo does well to play with this disconnect, causing the complete and utter listlessness of the game to swell and swell and continue to swell prior to the game's climax (if you could call it that) on a frigid november day
on the other hand...there's a dearth of particulars here for me to really feel invested in or compelled by. backtracking here: ringo ishikawa's ultimate success lies in a delicate marriage between the formal & aesthetic language of a kunio-kun game, and the - you'll have to forgive the reductive if undemanding comparison - exploratory, life-sim mechanics of something like shenmue. and the idea's so obvious, so axiomatic even in the kunio-kun games that ringo does little to iterate upon that idea, with certain environmental backgrounds and even mechanics feeling directly lifted from its NES progenitor. thrusting the lifesim framework to the forefront, then, is the most transformative quality of ringo and it achieves this by inviting players to test the boundaries of the world and create their own sense of meaning within that structure - that ringo obscures how tightly directed the game actually is only serves to further entrench just how well-considered and intelligent its design is as well. the game is also underscored by honest-to-god literary ambition which all eventually coalesces into an absolutely devastating ending but whatever i digress
point is, stone buddha...bit less going for it. it's a mood piece first and foremost - which, to its credit, its executes with total conviction and belief in the premise - but everything that you'd expect a game which probes into ennui would have is here, which honestly does it no favours. a lack of concrete narrative + good deal of economical prose invites some lovely interpretations, but you can see this specific ending coming a mile away and there's just too little that's actually transformative about it to really have the same sense of emotional resonance
sounds like im ragging but it's still a great time. unpolished sections and inelegant difficulty curve, sure, but it doesn't overstay its welcome and yeo's willingness to eschew conventional game design continues to delight. there's a lot to love about how the mechanics inform the atmosphere and how you eventually build an innate and instinctual feeling for exactly what you're supposed to do (and i particularly did enjoy how rote it felt when finally mastered - that contrast between what's supposed to be kinetic and improvisational versus the reality that you're a slowly advancing turret) but im also unconvinced that that part of the game was supposed to be intentionally monotonous like everyone says or whatever which does make me feel a bit of internal conflict. id bet my apartment on yeo designing the combat with a bottle of beluga going like 'yeaaaaaaaaaaaaaaa'. good for him
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.
Sin and Punishment
2000
(plays through the game) woah (looks up the plot summary on wikipedia) damn
i used to be so down bad
i had this jill valentine poster from re3 in my room when i was younger that every time i got some victory in a game i would point at it and go โyeah babyโ (i was like 12 leave me alone). my cousin was over for christmas one time. we were playing halo 3 and i kept beating him in 1v1s and kept doing my little victory routine after each win and that got him so mad that he yelled and started punching holes in the poster causing me to tackle him and start pummeling him with smacks across his face while tears rolled down my eyes. that day i felt a loss of innocence. good game.
i had this jill valentine poster from re3 in my room when i was younger that every time i got some victory in a game i would point at it and go โyeah babyโ (i was like 12 leave me alone). my cousin was over for christmas one time. we were playing halo 3 and i kept beating him in 1v1s and kept doing my little victory routine after each win and that got him so mad that he yelled and started punching holes in the poster causing me to tackle him and start pummeling him with smacks across his face while tears rolled down my eyes. that day i felt a loss of innocence. good game.
4 lists liked by Caffienator