"Neurodiversity through Webcomics: Using Aesthetic Experiences for Epistemic Resistance"
At the heart of the ideas proposed in today's panel is that of epistemic enablement through trajectories other than propositional, which can be offered by aesthetic experience.
PANEL
"Dancing Toward Epistemic Justice: An Embodied Account of Epistemic Agency"
Amandine Catala and Camille Zimmermann covered the example of dance, an embodied account of epistemic enablement.
PhD Candidate - Philosophy (UQAM)
Camille Zimmermann
zimmermann.camille@courrier.uqam.ca
Professor - Philosophy (UQAM)
Amandine Catala
catala.amandine@uqam.ca
"Comics and Epistemic Enablement"
Luc Faucher discussed the medium of comics in the context of neurodiversity, again as epistemic enablement.
Professor - Philosophy (UQAM)
Luc Faucher
"Neurodiversity through Webcomics: Using Aesthetic Experiences for Epistemic Resistance"
We now continue with webcomics.
PhD Candidate - Philosophy (UQAM)
Mylène Legault
legault.mylene.2@courrier.uqam.ca
PhD Candidate - Philosophy (UQAM)
Jean-Nicolas Bourdon
bourdon.jean-nicolas@courrier.uqam.ca
PREFACE
About the
Format
Force of habit leads us to take the established ways of doing things as fixed, even though they are circumstantial. We were able to explore this reality, for example, during the pandemic: going to the office for work meetings, which, in all honesty, could have been e-mails. We also know that cultural habits are not insignificant, they allow the reproduction of comfortable modalities of interaction for dominant groups: those with the power to choose these modalities.
For our part of the panel, we propose to do things differently. Don't worry, we're not criticizing power point presentations and their timely sip of water pauses. Instead, we're inviting you to explore an alternative modality for interaction.
Public Speaking
Many people hate public speaking. It generally comes with discomforts and even fears, but some people have cognitive profiles that function in ways far removed from this type of interaction. However, this practice is socially maintained and considered essential for meeting and sharing. But is it really necessary? Does the public space absolutely have to be occupied in an oratory and synchronous way? What if these modalities are, in fact, infused with neuronormativity?
Human society is permeated by collective cultural resources with which individuals can, among other things, interpret, understand and communicate various aspects of their experiences. Since they are collective resources, their genesis, maintenance and dissemination are a function of the power dynamics that permeate our societies. One of these power dynamics is organized around norms regarding what is considered appropriate cognitive functioning: the group whose cognition corresponds to the norm (i.e., neurotypicals) dominates and those whose cognition deviates from the norm (i.e., neurodivergent) are marginalized. This epistemic marginalization has the effect of limiting the access of neurodivergent individuals to so-called "collective" epistemic resources, both in their elaboration and in their use.Β
This norm corresponds to neuronormativity, which is presented by Amandine Catala, Luc Faucher et Pierre Poirier (2021) in their paper Autism, epistemic injustice, and epistemic disablement: a relational account of epistemic agency.Β
Neuronormativity refers to the prevalent, neurotypical set of assumptions, norms, and practices that construes neurotypicality as the sole acceptable or superior mode of cognition, and that stigmatizes attitudes, behaviors, or actions that reflect neu- roatypical modes of cognition as deviant or inferior. Neuronormative assumptions, norms, and practices uphold standards regarding, for example, (what is neurotypi- cally considered) appropriate eye contact, facial expressions, prosody, conversa- tional flow, processing, and responsivenessβall of which can be difficult for autistic individuals to understand, sense, or apply, due to neurocognitive differences. (Catala & al., 2021)
Catala, A., Faucher, L. & Poirier, P. Autism, epistemic injustice, and epistemic disablement: a relational account of epistemic agency. Synthese (2021).
For a presentation on these questions, see Epistemic justice and epistemic authority on autism, Philosophy of Psychiatry Webinar, Montreal (Amandine Catala)
Whatβs with all these neuro- words?
Neurodiversity can refer to the neurological or neurocognitive variation naturally present in the human population. The term was first introduced by Judy Singer in a book published in 1993. The term also refers to a growing sociopolitical movement that promotes the recognition and inclusion of natural neurocognitive diversity (see, for example, Autistic Self Advocacy Network (ASAN), whose slogan is "Nothing About Us Without US!").
Nick Walker (2012) describes the neurodiversity movement as a new paradigm (the neurodiversity paradigm) in response to the pathology paradigm. It should be noted, however, that this movement has not been and is not immune to certain exclusionary mechanisms. For example, the movement began with verbal autistic individuals, but although the movement has since expanded to include many cognitive profiles, autistic individuals (and more recently ADHD individuals) still seem to dominate the movement.
Walker, N. (2012). Throw away the master's tools: Liberating ourselves from the pathology paradigm. Loud hands: Autistic people, speaking, 225-237.
Some progress can also be noted with the recent publication of "Neurodiversity Studies: A New Critical Paradigm" (Rosqvist et al., 2020), which illustrates the growing acceptance of this sociopolitical movement by the scientific community.
Rosqvist, H. B., Chown, N., & Stenning, A. (2020). Neurodiversity Studies: A New Critical Paradigm. Routledge.
Refers to individuals who fit the norm of cognitive functioning.
Neurodivergence belongs to a normative vocabulary. It requires a norm, which can be qualitative or quantitative, to distinguish typical from atypical neurocognitive profiles among natural neurological variation. However, the narrative is not so simple; cognition is a complex and dynamic process, and simply distinguishing between neurotypical and neuroatypical individuals shapes, at least in part, the cognition of those same individuals. Note that these criteria, quantitative or qualitative, are generally chosen for medical, practical, economic or moral reasons: because a type is considered "more functional", "more adapted, evolutionarily", "easier to interact with", "less demanding in resources" more characteristic of a human life worth living", etc.
Refers to individuals who do not fit the norm for cognitive functioning.
For those who are curious, we address these "neuro- words" here :
- Legault, M., Bourdon, J. & Poirier, P. (2021). From neurodiversity to neurodivergence by way of epistemic marginalization, Epistemological Issues in Neurodivergence and Atypical Cognition. Synthese.
- Legault, M., Bourdon, J. & Poirier, P. (2019) Neurocognitive variety in neurotypical environments: the source of βdeficitsβ in autism, Journal of Behavioral and Brain Science (JBBS), vol.9, 246-272.
This is all well and good in theory, but what does it have to do with our presentation?
What we are trying to say - probably with too many words - is that those with cognitive profiles similar to ours tend to feel unsafe in traditional academic frameworks. This very presentation is the perfect opportunity to experiment with an alternative format where we can occupy the epistemic space and exist as we are. When the parameters of a common space of exchange only correspond to one type of cognitive profile, neurotypical profiles in this case, there can hardly be any exchange that is fair and inclusive. Our hope is that offering this alternative might open this type of space to those who remain outside the exchange.
Although this is an aside before we get into our main topic, you will notice that the form of our presentation reproduces our subject: the online viewing of webcomics, that is, asynchronous interactions around a shared representation, or the infamous content.
What a great question! Of course. If we have different cognitive and processing profiles with different modalities of expression, we can expect adjustments in synchronicity. Strategies for better epistemic justice include suspending judgment, giving the time, respecting varied forms of exchange and being open to different modalities of exchange.
Feel free to contact us for any comments and input into this exploration:
legault.mylene.2@courrier.uqam.ca
bourdon.jean-nicolas@courrier.uqam.ca
PART I
This is Marc, stand in for the author: Yvon Roy
This is his son, Olivier, who is autistic.
Les Petites Victoires showcases the fight of a father for his son, diagnosed with autism "in order to transform an announced defeat into small victories" (sic, our translation).
In his preface, Roy explains the contextualises the creation of his comic book:
"The idea was first suggested to me by a special educator who had worked with my son. She thought that what we had accomplished together was worth sharing so that other parents could find, through our experience, some useful information, if not a little hope" (our translation).
Interview
"When I started working with my boy to help him, with all the professionals in the field, I realized that often we were told, or they tried to tell us, that we had to work on living with autism, on accommodating autism. How we had to deal with different crises, different problems, whereas I thought, well, no, it's better, definitely, to try to overcome it than to live with it. And that's been kind of my master idea, let's say, for years with my boy, which is to try to push the boundaries constantly, always further." (Our translation)
Why choose this comic book?
This comic book is an example of a creation that is easily accessible to the general public that has been awarded and highly publicized - even winning an award that recognizes works written by a person living with a disability and recounting their own experience, or by a third party about the life of a relative living with a disability. In 2018, the publisher Rue de Sèvres announced a contract for a film adaptation, which caused reactions and led to the hashtag :
#boycottlespetitesvictoires
As we will show, this is an example of the social representations of autism that perpetuate dominant understandings that do not fit the lived experience of those directly concerned to the point of being discriminatory. It is also difficult to identify moments when the child (the autistic character) shows agentivity. Instead, heβs passive in his fatherβs story. In a way, Olivier is only a supporting character. This is exaclty why representation doesn't mean autorepresentation and why "nothing about us whitout us" matters: although this comic is presented as a positive narrative from the allist perspective (3rd person), the story is completely different from the standpoint of the autistic communityβs testimonies (1st person).
An allist person is a non-autistic person.
To understand the term "allist", we must go back to the origin of the word "autistic" which comes from the Greek word "autos" which means "self". So the word "autistic" initially referred to a person withdrawn on themself, who lives in their own world. The term "allist" appeared in a satirical article to refer to non-autistic people by swaping βautosβ for "allos" which refers to others. So an allist is a person who is focused on others or, to flip the usual narrative, a person who lives in other peopleβs worlds.
In spite of the satire, the term βallistβ has remained in use among others because it allows to distinguish between "neurotypicals" and "allists". There are people who are not autistic, but who are not neurotypical: a non-autistic dyslexic person, for example.
For a deconstruction
of the problematic propositions of the comic book:
But do you know the story from the autistic communityβs perspective?
This is where webcomics can serve as an accessible tool that allows the reversal of dominant representations by opening the floor to self-representations directly grounded in marginalized communities. But before continuing with the topic of webcomics, we wish to feature an excerpt from Les Petites Victoires that addresses a frequent theme in autism: eye contact.
Excerpt on eye contact
English translation
English translation
Excerpt from Yvon Roy's interview
"I worked a bit like we can work to sometimes desensitize a substance. Sometimes certain people can have an allergy, we can try to desensitize them.
Several parents have contacted me regarding the trick to get the child to look in the eyes. This is the first thing we worked on together, that is to say, I considered that being able to look in the eyes - we know that autistic children have difficulty looking directly in the eyes - I said to myself, if we don't have eye contact, we have nothing.Β We need that, it's the beginning of human interaction." (our translation)
TW: The host uses the term βprisonβ in reference to autism:
"In your story that you shared with us in Les Petites Victoires, there is obviously the moment when you get up to face, to accompany your child in that reality: to learn to understand him too, inside what he lives and this prison, in a way, from which he is pressured which is basically this condition." (our translation)
Link to the interview (in French)
This scene is an example of neuronormativity
Recall that neuronormativity is the prevalent, neurotypical set of assumptions, norms, and practices that conceives of neurotypicality as the only acceptable or superior mode of cognition, and that stigmatizes attitudes, behaviors, or actions that reflect atypical modes of cognition as deviant or inferior.
This scene is told from the allist perspective and is presented with a positive outcome. In fact, as the author mentions, parents have applied this technique with their autistic children after being inspired by it.
But what if we ask autistic people how they feel about eye contact? That's exactly what we are going to do.
PART II
Why webcomics?
The medium of webcomic enables me to do something I don't know how to do otherwise: share how things feel on the inside.
Imagine. You come across a newspaper at the local coffee shop and recognize the face of a well-known personality. Yet you can't remember their name. It annoys you, you know you know it, itβs just not coming out, it stays there, on the tip of your tongue. You have time to come back to work, coffee in hand, and the name still hasn't come back to you, it still annoys you. You come across a colleague and you ask them, you describe the person, maybe clumsily at first (it would be so much easier with their name!), but you adjust to your interlocutor and, together, you can finally recall their name, it was so obvious!
Itβs important to emphasize this feeling of annoyance. We rarely take the time to mention this annoyance when talking about epistemic injustices. Yet it is there, and it can even be painful: how do we make sense, to use Fricker's classic example, of our experience of sexual harassment when the concept does not yet exist? How can we share the feeling that something is wrong? This is where community comes into play and it is why the idea of "by and for" matters more than, say, a criterion of simplicity might. This is addressed by feminist epistemologies: for example, Longino argues for pragmatic values in science such as diffusion of power (as the importance of making research programs accessible to the actors involved in the research).
The impact of inadequate social representations on neurodiversity cannot be fully resolved by the traditional narrative of epistemic oppression and justice: adding new vocabulary to collective epistemic resources is not a panacea (we already have the word "autism" for example). So it is not only words that are missing, but rich and diverse lived experiences are also missing from the pool of shared resources.
The problem is that what is missing, the hermeneutical gaps, are not automatically apparent: social representations created by and for the dominant groups inadequately fill the hermeneutical gaps of marginalized groups. To that effect, let us recall here the Handi-Livre prize for the best biography which rewards works written by a person with a disability and telling his or her own experience, or by a third party on the life of a close relative with a disability: In the case of Les Petites Victoires, the award went to the biography of an allistic (non-autistic) person talking about autism. These inadequate social representations are difficult to resist: they are constantly and persistently reproduced. It is even harder when you don't have the words to replace theirs. But do we really have to wait for the right words to share our experiences? This is where illustration can become an attention grabbing action like shouting: an action that does not need words. This is what we propose here: a form of non-propositional epistemic resistance in response to hermeneutic injustice.
Webcomics are basically online comic books. They are mostly instantiated as short comics that take many forms and cover many topics. The most common form of webcomic is probably the blog (sometimes autobiographical, sometimes entirely fictional, sometimes both). Because they are mostly published independently by their artists, webcomics are an art form that is not limited by institutionalized power dynamics such as publishing houses or art galleries.
But the most important thing for us here is that webcomics are able to generate aesthetic experiences that allow viewers to better understand different aspects of the lived experience of neurodivergent people despite the inadequacy of mainstream epistemic resources.
In some ways, webcomics are a digital version of street art.
Although limited to a given geographical space for street art and to a particular digital platform for webcomics, there is this common idea where it is not so much the public that goes to the creation as the creation that goes to the public. We are no longer in a reserved and predefined space like a museum, a bookstore, a gallery or even a library.
Although a recognized artist can make street art, it is more difficult for an artist who does not belong to a complex and influential network to access some places of diffusion such as an art gallery. Webcomic is thus added to the tools that allow the production, use and transmission of more accurate social representations, participating in the collective understandings of the oppressions suffered by epistemically marginalized groups. The public and interactional aspects of social media that support webcomics make them a catalyst for direct dialogue with (but also within and between) marginalized communities.
To put our epistemic resistance into action,
and to enhance our imaginative ressources, we chose to gather first-personal testimonies and descriptions of how eye contact can feel for autists.
After all, who better to provide insight into a given lived experience than those who live it? To do so, we used social media (instagram and facebook) to ask autistic followers of our webcomic (@lilyspectrum): How does eye contact feel to you? Although we are neurodivergent, it was important for us to go with the community beyond our individual experiences. For instance, we would never have thought of the sunburn idea on our own, but once we read those testimonies, it felt right.
Both posts were made on November 8, and three days later, on November 11, we had received 175 testimonies. A few major themes emerged from these testimonies, which we used to base 7 webcomics or illustrations on. Keep in mind that, with this process, we do not claim to represent all there is to express about autistsβ first-personal experience of eye contact. In fact, we suggest you visit these posts yourself to better understand the varied responses we got, and are still getting. And who knows, maybe this will allow you to add your own insight.
Publication
Since Monday, we have started to publish these comics on our social networks and we will continue to publish them in the following days
The interactions that take place around such webcomics are, we believe, an integral part of their complete aesthetic experience. These interactions often bring about clarifications, complementary details and descriptions or even added meaning. We thus invite you to visit these posts and interact with the community.
Webcomics
"I can do it but I canβt process anything else while doing it. My natural instinct and what feels the most right is to not look at someoneβs face at all"
"It was drilled into me as a "rule" of politeness. I view it as just that, a rule. It's easy when there's multiple people because I can look around. But with one person, I have to look away or I end apparently end up staring"
"Everyone insisted on it, especially when they really wanted to correct a behavior or ensure I was paying attention. I honestly still don't love it, and prefer to look at noses or eyebrows to provide the impression I'm making eye contact"
"Eye contact was enforced during my childhood in mostly abusive ways and while it taught me to fake it, that made me hate it even more. Generally it just makes me uncomfortable and I find it quite distracting but it's also one of the most tiresome things to mask."
"Eye contact feels like they're staring into my soul, but with knives. I can make short eye contact before wanting to cry."
"It takes a concerted effort except for specific people."
"Iβve been so conditioned to make eye contact with people that when I met a lot of my friends for the first time they were kinda weirded out by me unblinkingly paying attention to them when they talked like πππ"
"It feels like someone is looking right past all my defenses and directly into my head. Not very pleasant."
"Terrifiant, j'ai vraiment l'impression qu'on me transperce Γ chaque fois β¦"
"Like I am being stabbed in the brain, itchy under the scalp, or suffocating. Anxiety is anxiety. I look at people's foreheads. They never know the difference but I am not forced to juggle the pain of eye contact and try to communicate. I am mostly non verbal and eye contact guarantees no words."
"Γa me met vraiment mal Γ l'aise et j'ai peur qu'on puisse mal interprΓ©ter si je regarde pas "correctement", je sais pas si je dois regarder quelqu'un dans les yeux ou combien de temps, il faut surtout pas que je regarde autre chose chez lui que ses yeux et du coup je sais pas quoi faire je prΓ©fΓ¨re regarder le mur derriΓ¨re mon interlocuteur π"
"Tout dΓ©pendra de la situation, de ma fatigue et de la personne. Certains contacts peuvent Γͺtre transperΓ§ants (douloureux), d'autres envoutants (confusants), d'autres destabilisants (perturbants). En tous cas, si je regarde qqn dans les yeux, je suis sΓ»r de perdre mon fil de pensΓ©e et/ou d'accorder mes rΓ©ponses Γ ce que la personne ressent."
"Eye contact feels like burning discomfort, especially when I'm being told to do it."
"Itβs extremely hard for me to maintain eye contact, and when people express to me that I should be looking at them when Iβm talking to them, it puts me under more stress than just talking to them in the first place"
"somehow being told we should be making eye contact feels like being reprimanded as a child, at least to me.. I can't count the amount of times my mother would tell me to look her in the eyes as a child, and how humiliating/stressful it felt.. I legit forget to listen to people because I'm too busy trying to maintain eye contact."
"At best, awkward and uncomfortable. At worst, like someone's stabbed me in the eyes."
"It makes me uncomfortable but my mother forces me to look people in the eyes"
"Painful, but I feel like if I don't look ill be punished or called a liar. So I trained myself to look at something over their shoulder if not their foreheads to avoid harassment."
"Habituellement je regarde plutôt la bouche ou le nez des gens et ça semble passer crème pour donner l'illusion que je regarde dans les yeux (j'ai eu droit à l'expert en haute potentialité qui me disait que c'était impossible que je sois autiste car.. je le regardais dans les yeux ! Je regardais sa bouche depuis le début de l'entretien..). Je ne me force au contact visuel que de manière consciente et dans de rares cas précis : [suite]
(suite) par exemple si je suis attiré romantiquement par quelqu'un et désire que cette personne le perçoive (vu que le contact visuel accru est interprété de cette façon par beaucoup de neurotypiques). Mais cela reste un sacré effort et en général je détourne les yeux très rapidement, ça me met mal à l'aise, c'en est presque physique. Récemment un de nos profs en cours nous a fait faire une série d'exercices où on devait marcher vers quelqu'un/revenir à sa place à reculons en gardant le contact visuel constant avec cette personne.. je vous laisse deviner la torture que c'était"
"Transperçant!"
"J'ai l'impression que les yeux de la personne me percent Γ l'intΓ©rieur, je sais pas comment dire, c'est une sensation d'oppression aiguΓ«."
"For me, looking in the eyes feels too exposed and open. It makes me feel like I can't hide and protect myself from the people."
"Eye contact makes me uncomfortable most of the time, because of the feeling that I am being silently judged or getting talked about negatively."
"It's fine when I'm listening to someone but when I'm the one talking it makes me get stage fright like I'm being put on the spot to judge for performance lol"
"Too intimate, inappropriateβ¦ I become incredibly self conscious as well, like am I doing eye contact right? Should I be mirroring their behavior or a close approximation or complete opposite? How many times should I blink? Can they tell Iβm faking this human interaction? Itβs incredibly stressful."
"It feels like something is a required check box. Itβs like a math problem. Look, one, two, three. Okay. Look away. Zone out if you need to. Okay, itβs been 10ish seconds. Look back. One, two, three.. okay, look away! Donβt share at them! Wait! Youβve looked away too long! Look back! β¦..itβs that on repeat quite often lol"
"I hate it I get so nervous and then I break down."
"I don't like it, makes me really uncomfortable. I'm "good at it", because I mask well (π¬). I never know what to do, if I'm looking to much or not enough and always use a whole lot of energy just on eye contact. Generally, the more comfortable I feel the less I look someone in the eyes. (Also eyes as a body part make me feel really icky so that's that)."
"Intimidating and uncomfortable, I feel too vulnerable and keep thinking am I doing this right?"
"Γa me met vraiment mal Γ l'aise et j'ai peur qu'on puisse mal interprΓ©ter si je regarde pas "correctement", je sais pas si je dois regarder quelqu'un dans les yeux ou combien de temps, il faut surtout pas que je regarde autre chose chez lui que ses yeux et du coup je sais pas quoi faire je prΓ©fΓ¨re regarder le mur derriΓ¨re mon interlocuteur π"
"Eh bien, quand jβΓ©tais petit, je parlais et Γ©coutais souvent le monde sans les regarder dans les yeux. Maintenant, Γ§a me dΓ©range pas de parler et Γ©couter avec le contact visuel, mais jβpeux trΓ¨s bien comprendre ce que le monde me dit sans obligatoirement les regarder dans les yeux. Aussi, cβest vrai que Γ§a me rend un peu mal Γ lβaise quand des inconnus me fixe du regard. Cβest comme sβils me jugeaient et jβsais pas ce que jβai fait de mal."
"Direct eye contact feels like I am being judged. It also makes me feel uncomfortable because I become unable to perceive and read the rest of their body language."
"DΓ©munie, nue. PercΓ©e Γ jour. Cβest trΓ¨s fort comme sensation, et rarement agrΓ©able. Jβy arrive avec mes enfants ou mon mari, mais mΓͺme dans ce cas, pas trop longtemps. Si je veux tenir une conversation, et me concentrer, alors je dois ruser. Je regarde entre les deux yeux ou le plus souvent la bouche."
"Feel nausea and anxiety, and extremely naked. Yet my mother was adamant that I learned it and therefore I am able to do it, despite the uncomfortable feelings. Absolutely love your work, for once I can tell that I am not alone"
"I feel instant stress and I have to force myself to do it and to look "natural"."
"Honestly, each time it happens to me, the most awkward feeling I have is Β« where should I look exactly Β» ? When you make eye contact, are you expected to focus one eye specifically (which one, then ?), between the eyes, not focus at all, or try a weird way of having each eye "looking" into the facing one (i.e. my left eye "looking at" their right one and vice-versa) ? I'm also never sure if/when eye contact is expected, and when it happens, is there/what is the hidden message behind this specific contact, and/or am I sending an incorrect hidden message myself ? Then, with all these questions actively consuming my brain "computing power", everything else totally miss the point (sometimes, though, I can hide this issue because I have this kind of ability to "replay" the last few words/sentence I unconsciously heard, to process it with a delay but potentially without the proper context- so it's not reliable at all !!).β¨"
"Weird and artificial. I can actually read people's eyes now, but it took me years to learn it."
"My parents rasied me to always look into the eyes, still feels wrong. Like, I am invaiding a personal space and being rude. Like trying to stare down their soul and violating their privacy. I still try to look at people in the eyes but have learned to just looks in differents points in the face so I don't seem rude."
"Eye contact feels too intimate to me for most interactions. If I make eye contact with you, itβs because itβs important.β¨"
"Eye contact feels very intimate. If Iβm forced to hold it for too long, I feel violated, like Iβve been touched without consent."
"I really hate eye contact in almost all circumstances. About the only exception is with someone I'm very intimate with. Eye contact feels extremely intimate to me in general so it only feels natural when it's with someone I've got a suitably intimate emotional connection to. Otherwise it feels like I'm staring into someone's soul and I can see everything and they're staring into mine and seeing the same (even if I know they're not)."
"Invasive, extremely personal. I'm only comfortable looking my husband in the eyes"
"It feels like Iβm standing too close to someone, I donβt know if thatβs too vague of a comparison but it feels way too intimate. So I only do it when necessary or when Iβm comfortable with that person."
"It feels creepy to me"
"I don't like it, makes me really uncomfortable. I'm "good at it", because I mask well (π¬). I never know what to do, if I'm looking to much or not enough and always use a whole lot of energy just on eye contact. Generally, the more comfortable I feel the less I look someone in the eyes. (Also eyes as a body part make me feel really icky so that's that)."
"I hate eye contact. It almost hurts. But itβs nessesary to have a successful professional life, and my parents trained me well as a child. They would ask me peopleβs eye color after I met them to see if I made eye contact. Being trained like that at a very young age was incredibly difficult and felt unfair, but Iβm very grateful that they pushed me now that Iβm an adult."
"I can't do it, it makes me feel funny in a bad way and makes me feel kind of .. unsafe? and uncomfy I don't exactly know the word for the first one, I don't mind people looking at me but I won't look back"
"It's incredibly intimate and overwhelmingly so, particularly with strangers. And the more my emotions are revved up, the less I can tolerate it. It genuinely feels as though someone can see into my mind almost, even though I know that they can't. On the plus side, when I'm with someone I deeply, deeply love, sometimes that's okay because I want them to see how much I love them... but then that tends to make THEM feel awkward and uncomfortable too. LOL For me, it falls into the same category as standing too close, invading personal space, touching someone without consent etc. It's intimate, and can very easily become violating when you don't want it. And that;s so hard to explain to NT folk who expect you to look them in the eye all the time."
"It's okay with people I know, but I don't feel comfortable with eye contact with strangers, it almost feels like an invasion of privacy."
"eye contact feels so weird and creepy and if i have to make eye contact with someone, then ill quickly feel exhausted."
"It feels like a boundary rupture unless I completely and totally feel comfortable in a container of safety with another it probably wonβt happen much."
"Well... I can't let anyone touch my eyeballs."
"Trop intrusif. Comme si l autre avait la perception de mes pensΓ©es. C est comme se montrer nue."
"Intense/ overwhelming/ fiery/ intrusive. Sometimes painful/ always difficult with strangers. Ok with intimate friends and family."
"DΓ©munie, nue. PercΓ©e Γ jour. Cβest trΓ¨s fort comme sensation, et rarement agrΓ©able. Jβy arrive avec mes enfants ou mon mari, mais mΓͺme dans ce cas, pas trop longtemps. Si je veux tenir une conversation, et me concentrer, alors je dois ruser. Je regarde entre les deux yeux ou le plus souvent la bouche."
"Feel nausea and anxiety, and extremely naked. Yet my mother was adamant that I learned it and therefore I am able to do it, despite the uncomfortable feelings. Absolutely love your work, for once I can tell that I am not alone"
"confronting and very intimate ..i feel naked"
"Quelque chose d'extrΓͺmement intime, que je ne peux pas partager avec n'importe qui sinon je suis dΓ©stabilisΓ©e car je bloque sur cette sensation d'intimitΓ© forcΓ©e. Depuis le diagnostic, je me permets de ne plus regarder le visage des gens (je ne travaille pas). Quel soulagement!"
"Eye contact feels like they're staring into my soul, but with knives. I can make short eye contact before wanting to cry."
"Itβs like being asked to look directly at the sun. I flinch, I canβt do itβ¦"
"It feels like they gonna shoot me with laserbeams. Like Cyclops from X-Men. I van handle it for 10 seconds. I get panick attacks of it's to long. Even with my bf makes me on edge. I got a major panic attack during a being social etc exam (idk how it's in English is). It was so bad. They let me past because otherwise i needed to do the whole year over."
"Feels like Iβm staring at the sun and I can only look a person in the eyes for 30 seconds or so before my eyes start to hurt a bit. I can only look animals in the eye."
"Like flames of intense awkwardness are scorching my retinas."
"When I was younger I always had trouble making eye contact. Iβve gotten better at it in recent years but its still painful to me."
"Eye contact feels like burning discomfort, especially when I'm being told to do it."
"Γa me demande beaucoup de concentration. J'ai l'impression que Γ§a me fait mal aux yeux et quand j'Γ©tais plus jeune je pouvais mΓͺme ne plus vraiment entendre ce que la personne me disait. Par contre ce n'est plus un problΓ¨me quand je me mets vraiment en colΓ¨re au point de vouloir me battre."
"Ca va de la gΓͺne Γ la sensation de brΓ»lure, Γ§a dΓ©pend des personnes je suppose. On peut parfaitement regarder le nez, la bouche, entre les yeux sans que l'autre ne sen rende compte."
"I canβt think if I have to. Feels like pressure."
"Bad, I feel like my head is going to explode if I look at someone's eyes for too long. I suspect it's probably a blood pressure drop or adrenaline, but it feels awful. I honestly don't get why so many people require eye contact when speaking. I can make eye contact, but it's really difficult to understand what the person is saying because I'm too focused on how uncomfortable I feel and how incredibly awkward it is to stare at someone's eyes"
"It feels literally painful and Iβm always afraid the other person can tell what Iβm feeling/thinking. Iβm comfortable with eye contact with very trusted folks in my life though."
"Painful"
"I really hate eye contact in almost all circumstances. About the only exception is with someone I'm very intimate with. Eye contact feels extremely intimate to me in general so it only feels natural when it's with someone I've got a suitably intimate emotional connection to. Otherwise it feels like I'm staring into someone's soul and I can see everything and they're staring into mine and seeing the same (even if I know they're not)."
"I cant make eye contact with literally anyone. Its uncomfortable, and even when its not, i cant listen proberly to what people are saying when i focus on the eyes. I just cant do it at anytime with anyone, only for one second maximum. Its like staring into someone's soul, its too much."
"Jβai lβimpression dβΓͺtre absorbΓ©e par les yeux de la personne et en mΓͺme temps comme si on pouvait voir ce quβil y a Γ lβintΓ©rieur de moi."
"honestly it feels like i am being sucked into their soulβ¦ i canβt maintain it if i want a conversation because i just get lost"
"Like someone staring at my soul? I almost feel like that's the part of masking that exhausts me the most!"
"It's uncomfortable. But sometimes if I want to intimidate someone I stare deep into their eyes and make them feel unnerved like I'm looking into their soul."
"Tout dΓ©pendra de la situation, de ma fatigue et de la personne. Certains contacts peuvent Γͺtre transperΓ§ants (douloureux), d'autres envoutants (confusants), d'autres destabilisants (perturbants). En tous cas, si je regarde qqn dans les yeux, je suis sΓ»r de perdre mon fil de pensΓ©e et/ou d'accorder mes rΓ©ponses Γ ce que la personne ressent."
"Trop intrusif. Comme si l autre avait la perception de mes pensΓ©es. C est comme se montrer nue."
"Jβai lβimpression dβentrer dans lβΓ’me de la personne. Je trouve Γ§a trop privΓ©. Alors je ne regarde que ceux dont jβai vraiment envie de dΓ©couvrir ce quβil y a au plus profond dβeux mΓͺme"
"I'm okay with it for small periods of time, but if it's more than a minute, I have to look away, it makes me super uncomfortable after that"
"It took me around 2 years to be able to do eye contact (kind of struggle still-) but normally if im uncomfortable looking at the eyes, ill just look at the nose instead"
"Awkward. The longest I can probably do it is for a few seconds, but sometimes itβs physically impossible for me to look someone in the eyes even for one second."
"Γa me met juste trΓ¨s mal Γ lβaise, et du coup je prΓ©fΓ¨re regarder ailleurs et ne regarde les gens dans les yeux sβiels ne me regardent pas."
"Incapable de soutenir un eye contact sauf avec certaine personnes... Ma famille (ma mere, mon pere, ma soeur), ma nièce, mon beau frère et mon conjoint. Quelques amis specifique aussi... Mais sinon incapable. Je chercher tjrs a "évader" ses eye contact."
"Uncomfortable. I have trouble maintaining eye contact for long, especially in a conversation. However, I did figure out that talking with your hands is a great way to distract the other person's eyes from your and gives you a reason not to look at them."
"havent made eye contact with anyone (while i'm talking to them, that is) except my cats in years if that tells you anyone"
"When I was younger, it used to feel like when you held two magnets together both ends the same, it felt like no matter how hard you held them together, it would want to repel forcefully, my head wanted to repel and look past to the left or right or down or up like a magnet would, and when I managed to hold it against that feeling, my eyes would water up, not tears from sadness or anything, but they released tears, now I can manage it but it's still not comfortable to do, it depends on how comfortable I feel with the person or people or how stimulated I feel in an environment"
"Itβs like when you hold two magnets with the same polarity against each other. Even if you want to put them together they wonβt do it. The magnets are like my eyes. They just canβt center on the other persons eyes or it will cost a lot of energy. Like with holding magnets with the same polarity together. Itβs just all in all very uncomfortable and draining. Btw Iβm undiagnosed so I hope I can still answer here. Also I really really love your account and the stuff you do ^^ /g"
"Γa me met vraiment mal Γ l'aise et j'ai peur qu'on puisse mal interprΓ©ter si je regarde pas "correctement", je sais pas si je dois regarder quelqu'un dans les yeux ou combien de temps, il faut surtout pas que je regarde autre chose chez lui que ses yeux et du coup je sais pas quoi faire je prΓ©fΓ¨re regarder le mur derriΓ¨re mon interlocuteur π"
"Je me sens obligé de regarder chaque personne dans les yeux mais aussitôt que le contact est réciproque je baisse le regard aussi vite que mon ombre ainsi j'ai l'impression que j'ai fait ma part! haha! Par contre avec le monde avec qui je suis très, très à l'aise je vais quelque fois fixer les yeux, on dirait que j'essaie de comprendre pourquoi je fuis ceux des inconnus, alors je fixe en grand questionnement interne!"
"Awkward and physically painful , strong need to move my eyes away from it"
"Souvent trop intense⦠Et en plus il se passe tellement de choses autour des yeux qui m'intéressent plus et/ou me sécurisent plus! Je fixe puis je zappe, j'y reviens et je rezappe⦠Les sourcils, les lunettes, sont des bons compromis aussi, ou fixer mon regard dans le vague direction le visage ou le pourtour du visage⦠Ou fixer le visage avec une attitude très intéressée (posture corporelle de l'attention soutenue) quand la personne regarde AILLEURS, et quand son regard se tourne vers moi, fixer 1s seconde, sourire, et me tourner ailleurs vers qqn d'autre qui parle mais ne regarde pas vers moi à ce moment là , ou trouver à m'occuper avec un objet, et jongler comme ça."
"Je n'aime pas regarder sans les yeux, je ne sais pas, c'est plus fort que moi, je suis mal Γ l'aise, je ressens le besoin de regarder ailleurs. Du coup j'aime bien discuter quand je suis au resto ou quand on fait une activitΓ©, il y a l'excuse d'Γͺtre occupΓ©e en mΓͺme temps pour ne pas se regarder"
"Habituellement je regarde plutôt la bouche ou le nez des gens et ça semble passer crème pour donner l'illusion que je regarde dans les yeux (j'ai eu droit à l'expert en haute potentialité qui me disait que c'était impossible que je sois autiste car.. je le regardais dans les yeux ! Je regardais sa bouche depuis le début de l'entretien..). Je ne me force au contact visuel que de manière consciente et dans de rares cas précis : par exemple si je suis attiré romantiquement par quelqu'un et désire que cette personne le perçoive (vu que le contact visuel accru est interprété de cette façon par beaucoup de neurotypiques). Mais cela reste un sacré effort et en général je détourne les yeux très rapidement, ça me met mal à l'aise, c'en est presque physique. Récemment un de nos profs en cours nous a fait faire une série d'exercices où on devait marcher vers quelqu'un/revenir à sa place à reculons en gardant le contact visuel constant avec cette personne.. je vous laisse deviner la torture que c'était"
"Lorsque c'est quelqu'un avec qui je suis Γ l'aise ca va Γ une certaine distance mais de trop prΓͺt je ressens un malaise assez vite. Si j'ai le malheur de croisΓ© le regard avec un(e) inconnu(e) dans la rue ou dans un commerce, je regarde ailleurs aussitΓ΄t, gros malaise. C'est pour Γ§a que j'Γ©vite de regarder les gens."
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Π½Π°ΠΊΡΡΡΠΊΠ° ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΡ ΠΌΠΎΡΠΊΠ²Π°
ΠΡΠ»ΠΈ ΡΡ ΠΊΠΎΠ³Π΄Π°-Π½ΠΈΠ±ΡΠ΄Ρ Π·Π°Π΄ΡΠΌΡΠ²Π°Π»ΡΡ, ΠΏΠΎΡΠ΅ΠΌΡ ΡΠ²ΠΎΠΉ ΡΠ°ΠΉΡ Π³Π΄Π΅-ΡΠΎ Π½Π° Π·Π°Π΄Π²ΠΎΡΠΊΠ°Ρ Π―Π½Π΄Π΅ΠΊΡΠ°, Π° Π½Π΅ ΡΠΈΡΠ΅Ρ Π½Π° ΠΏΠ΅ΡΠ²ΠΎΠΉ ΡΡΡΠ°Π½ΠΈΡΠ΅, ΡΠΎ ΡΡ ΠΏΠΎ Π°Π΄ΡΠ΅ΡΡ. Π‘Π΅Π³ΠΎΠ΄Π½Ρ ΠΌΡ ΡΠ°Π·Π±Π΅ΡΠ΅ΠΌΡΡ, ΠΊΠ°ΠΊ ΡΠ°ΡΠΊΡΡΡΠΈΡΡ ΡΠ°ΠΉΡ Π² Π―Π½Π΄Π΅ΠΊΡΠ΅, ΡΠ΅ΠΌ SEO Π΄Π»Ρ Π―Π½Π΄Π΅ΠΊΡΠ° ΠΎΡΠ»ΠΈΡΠ°Π΅ΡΡΡ ΠΎΡ Google, ΠΈ ΡΡΠΎ Π·Π° Π·Π°Π³Π°Π΄ΠΎΡΠ½ΡΠ΅ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ°ΠΊΡΠΎΡΡ Π²ΡΠ΅ ΠΎΠ±ΡΡΠΆΠ΄Π°ΡΡ. ΠΠΎΠ΅Ρ Π°Π»ΠΈ!
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ΠΠ°Π²Π°ΠΉ Π½Π°ΡΠ½Π΅ΠΌ Ρ ΡΠΎΠ³ΠΎ, ΡΡΠΎ Π―Π½Π΄Π΅ΠΊΡ ΠΈ Google β ΡΡΠΎ ΠΊΠ°ΠΊ Π΄Π²Π° ΡΠ°Π·Π½ΡΡ ΠΌΠΈΡΠ° ΡΠΎ ΡΠ²ΠΎΠΈΠΌΠΈ ΠΏΡΠ°Π²ΠΈΠ»Π°ΠΌΠΈ ΠΈΠ³ΡΡ. ΠΡΠ΅Π΄ΡΡΠ°Π²Ρ, ΡΡΠΎ ΡΡΠΎ ΠΊΠ°ΠΊ ΠΈΠ³ΡΠ°ΡΡ Π² ΡΡΡΠ±ΠΎΠ» ΠΈ Π² Π°ΠΌΠ΅ΡΠΈΠΊΠ°Π½ΡΠΊΠΈΠΉ ΡΡΡΠ±ΠΎΠ»: ΠΌΡΡ Π²ΡΠΎΠ΄Π΅ Π΅ΡΡΡ, Π½ΠΎ ΠΏΡΠ°Π²ΠΈΠ»Π° ΡΠ°Π·Π½ΡΠ΅.
1. Π Π΅Π³ΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΡΡΡ
Π―Π½Π΄Π΅ΠΊΡ ΠΎΡΠ΅Π½Ρ Π»ΡΠ±ΠΈΡ Π»ΠΎΠΊΠ°Π»ΡΠ½ΡΠΉ ΠΊΠΎΠ½ΡΠ΅Π½Ρ. ΠΡΠ»ΠΈ ΡΡ Π² ΠΠΎΠ²ΠΎΡΠΈΠ±ΠΈΡΡΠΊΠ΅, ΡΠΎ Π―Π½Π΄Π΅ΠΊΡ ΠΏΠΎΠΊΠ°ΠΆΠ΅Ρ ΡΠ΅Π±Π΅ ΡΠ°ΠΉΡΡ ΠΈΠ· ΠΠΎΠ²ΠΎΡΠΈΠ±ΠΈΡΡΠΊΠ°.
Google Π±ΠΎΠ»Π΅Π΅ Π³Π»ΠΎΠ±Π°Π»Π΅Π½ ΠΈ Π½Π΅ ΡΠ°ΠΊ ΡΠΈΠ»ΡΠ½ΠΎ Π·Π°ΡΠΈΠΊΠ»Π΅Π½ Π½Π° ΡΠ΅Π³ΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΡΡΠΈ.
2. ΠΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ°ΠΊΡΠΎΡΡ
Π―Π½Π΄Π΅ΠΊΡ ΠΎΠ±ΡΠ°ΡΠ°Π΅Ρ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π½Π° ΡΠΎ, ΠΊΠ°ΠΊ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»ΠΈ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΡΡΡ Ρ ΡΠ²ΠΎΠΈΠΌ ΡΠ°ΠΉΡΠΎΠΌ: ΡΠΊΠΎΠ»ΡΠΊΠΎ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ ΠΏΡΠΎΠ²ΠΎΠ΄ΡΡ, ΡΠΊΠΎΠ»ΡΠΊΠΎ ΡΡΡΠ°Π½ΠΈΡ ΠΏΡΠΎΡΠΌΠ°ΡΡΠΈΠ²Π°ΡΡ ΠΈ Ρ.Π΄.
Google ΡΠΎΠΆΠ΅ ΡΠΌΠΎΡΡΠΈΡ Π½Π° ΡΡΠΎ, Π½ΠΎ Π½Π΅ Π½Π°ΡΡΠΎΠ»ΡΠΊΠΎ ΡΠ°Π½Π°ΡΠΈΡΠ½ΠΎ.
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Π―Π½Π΄Π΅ΠΊΡ Π±ΠΎΠ»Π΅Π΅ ΡΠΊΠ΅ΠΏΡΠΈΡΠ΅ΡΠΊΠΈ ΠΎΡΠ½ΠΎΡΠΈΡΡΡ ΠΊ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²Ρ ΡΡΡΠ»ΠΎΠΊ ΠΈ Π±ΠΎΠ»ΡΡΠ΅ ΡΠ΅Π½ΠΈΡ ΠΈΡ ΠΊΠ°ΡΠ΅ΡΡΠ²ΠΎ.
Google Π»ΡΠ±ΠΈΡ, ΠΊΠΎΠ³Π΄Π° Π½Π° ΡΠ΅Π±Ρ ΡΡΡΠ»Π°ΡΡΡΡ Π²ΡΠ΅ ΠΈ Π²ΡΡ, Π½ΠΎ ΡΠΎΠΆΠ΅ ΡΠ΅Π½ΠΈΡ ΠΊΠ°ΡΠ΅ΡΡΠ²ΠΎ.
4. ΠΠ½Π°Π»ΠΈΠ· ΠΊΠΎΠ½ΡΠ΅Π½ΡΠ°
Π―Π½Π΄Π΅ΠΊΡ ΡΠ΄Π΅Π»ΡΠ΅Ρ Π±ΠΎΠ»ΡΡΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΡ ΠΌΠΎΡΡΠΎΠ»ΠΎΠ³ΠΈΠΈ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ·ΡΠΊΠ° ΠΈ Π»ΡΡΡΠ΅ ΠΏΠΎΠ½ΠΈΠΌΠ°Π΅Ρ ΡΠ»ΠΎΠΆΠ½ΡΠ΅ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠΈ.
Google ΠΌΠΎΠΆΠ΅Ρ ΠΈΠ½ΠΎΠ³Π΄Π° Β«ΡΠΏΠΎΡΡΠΊΠ°ΡΡΡΡΒ» Π½Π° Π½Π°ΡΠΈΡ ΠΏΠ°Π΄Π΅ΠΆΠ°Ρ ΠΈ ΡΠΊΠ»ΠΎΠ½Π΅Π½ΠΈΡΡ .
Π§ΡΠΎ ΡΠ°ΠΊΠΎΠ΅ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ°ΠΊΡΠΎΡΡ?
Π ΡΠ΅ΠΏΠ΅ΡΡ ΠΊ Π·Π°Π³Π°Π΄ΠΎΡΠ½ΡΠΌ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠΌ ΡΠ°ΠΊΡΠΎΡΠ°ΠΌ. ΠΡΠΎ ΠΊΠ°ΠΊ ΡΠ²ΠΎΠΉ ΡΠ°ΠΉΡ Π²Π΅Π΄Π΅Ρ ΡΠ΅Π±Ρ Π½Π° ΠΏΠ΅ΡΠ²ΠΎΠΌ ΡΠ²ΠΈΠ΄Π°Π½ΠΈΠΈ Ρ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Π΅ΠΌ. ΠΡΠ»ΠΈ Π²ΡΠ΅ ΠΊΡΡΡΠΎ β Π±ΡΠ΄Π΅Ρ Π²ΡΠΎΡΠΎΠ΅ ΡΠ²ΠΈΠ΄Π°Π½ΠΈΠ΅ (ΠΈ Ρ ΠΎΡΠΎΡΠΈΠ΅ ΠΏΠΎΠ·ΠΈΡΠΈΠΈ Π² Π²ΡΠ΄Π°ΡΠ΅).
ΠΡΠ½ΠΎΠ²Π½ΡΠ΅ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ°ΠΊΡΠΎΡΡ:
ΠΡΠ΅ΠΌΡ Π½Π° ΡΠ°ΠΉΡΠ΅: ΡΠΊΠΎΠ»ΡΠΊΠΎ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Ρ ΡΡΡΠΈΡ Π½Π° ΡΠ²ΠΎΠ΅ΠΌ ΡΠ°ΠΉΡΠ΅.
ΠΠ»ΡΠ±ΠΈΠ½Π° ΠΏΡΠΎΡΠΌΠΎΡΡΠ°: ΡΠΊΠΎΠ»ΡΠΊΠΎ ΡΡΡΠ°Π½ΠΈΡ ΠΎΠ½ ΠΏΠΎΡΠΌΠΎΡΡΠ΅Π».
ΠΠΎΠΊΠ°Π·Π°ΡΠ΅Π»Ρ ΠΎΡΠΊΠ°Π·ΠΎΠ²: ΡΡΠ΅Π» Π»ΠΈ ΠΎΠ½ ΡΡΠ°Π·Ρ ΠΈΠ»ΠΈ Π·Π°Π΄Π΅ΡΠΆΠ°Π»ΡΡ.
ΠΠΎΠ·Π²ΡΠ°ΡΡ Π½Π° ΡΠ°ΠΉΡ: Π²ΠΎΠ·Π²ΡΠ°ΡΠ°ΡΡΡΡ Π»ΠΈ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»ΠΈ ΡΠ½ΠΎΠ²Π°.
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ΠΡΠ°ΠΊ, Π²Ρ, Π½Π°Π²Π΅ΡΠ½ΠΎΠ΅, Π΄ΡΠΌΠ°Π΅ΡΠ΅: Β«SEO Π΅ΡΡΡ SEO, ΠΊΠ°ΠΊΠ°Ρ ΡΠ°Π·Π½ΠΈΡΠ°?Β» ΠΠΎ Π½Π΅Ρ! Π―Π½Π΄Π΅ΠΊΡ ΠΈ Google β ΡΡΠΎ ΠΊΠ°ΠΊ ΡΠ°Π·Π½ΡΠ΅ Π²ΡΠ΅Π»Π΅Π½Π½ΡΠ΅ ΡΠΎ ΡΠ²ΠΎΠΈΠΌΠΈ ΠΏΡΠ°Π²ΠΈΠ»Π°ΠΌΠΈ ΠΈΠ³ΡΡ.
1. ΠΠ»Π³ΠΎΡΠΈΡΠΌΡ ΡΠ°Π½ΠΆΠΈΡΠΎΠ²Π°Π½ΠΈΡ
Π―Π½Π΄Π΅ΠΊΡ Π±ΠΎΠ»ΡΡΠ΅ ΠΎΡΠΈΠ΅Π½ΡΠΈΡΡΠ΅ΡΡΡ Π½Π° ΡΠ΅Π³ΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΡΡΡ. ΠΡΠ»ΠΈ Π²Π°Ρ Π±ΠΈΠ·Π½Π΅Ρ Π² ΠΠΎΡΠΊΠ²Π΅, ΡΠΎ Π―Π½Π΄Π΅ΠΊΡ ΠΏΠΎΠΊΠ°ΠΆΠ΅Ρ Π²Π°Ρ ΡΠ°ΠΉΡ ΠΌΠΎΡΠΊΠ²ΠΈΡΠ°ΠΌ Π² ΠΏΠ΅ΡΠ²ΡΡ ΠΎΡΠ΅ΡΠ΅Π΄Ρ.
Google Π±ΠΎΠ»ΡΡΠ΅ Π³Π»ΠΎΠ±Π°Π»Π΅Π½ ΠΈ ΠΎΠ±ΡΠ°ΡΠ°Π΅Ρ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π½Π° ΠΌΠ΅ΠΆΠ΄ΡΠ½Π°ΡΠΎΠ΄Π½ΡΠ΅ ΡΠ°ΠΊΡΠΎΡΡ.
2. ΠΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ°ΠΊΡΠΎΡΡ
Π―Π½Π΄Π΅ΠΊΡ ΠΎΡΠ΅Π½Ρ ΡΠ΅ΡΡΠ΅Π·Π½ΠΎ ΠΎΡΠ½ΠΎΡΠΈΡΡΡ ΠΊ ΠΏΠΎΠ²Π΅Π΄Π΅Π½ΡΠ΅ΡΠΊΠΈΠΌ ΡΠ°ΠΊΡΠΎΡΠ°ΠΌ. ΠΡΠΎ Π·Π½Π°ΡΠΈΡ, ΡΡΠΎ Π΅ΠΌΡ Π²Π°ΠΆΠ½ΠΎ, ΠΊΠ°ΠΊ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»ΠΈ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΡΡΡ Ρ Π²Π°ΡΠΈΠΌ ΡΠ°ΠΉΡΠΎΠΌ.
Google ΡΠΎΠΆΠ΅ ΡΡΠΈΡΡΠ²Π°Π΅Ρ ΡΡΠΎ, Π½ΠΎ Π² ΠΌΠ΅Π½ΡΡΠ΅ΠΉ ΡΡΠ΅ΠΏΠ΅Π½ΠΈ.
3. Π£ΡΠ΅Ρ ΡΡΡΠ»ΠΎΠΊ
Π―Π½Π΄Π΅ΠΊΡ Π±ΠΎΠ»Π΅Π΅ ΡΠΊΠ΅ΠΏΡΠΈΡΠ΅ΡΠΊΠΈ ΠΎΡΠ½ΠΎΡΠΈΡΡΡ ΠΊ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²Ρ Π²Π½Π΅ΡΠ½ΠΈΡ ΡΡΡΠ»ΠΎΠΊ ΠΈ Π±ΠΎΠ»ΡΡΠ΅ ΡΠ΅Π½ΠΈΡ ΠΈΡ ΠΊΠ°ΡΠ΅ΡΡΠ²ΠΎ.
Google Π»ΡΠ±ΠΈΡ, ΠΊΠΎΠ³Π΄Π° Π½Π° Π²Π°Ρ ΡΠ°ΠΉΡ ΡΡΡΠ»Π°ΡΡΡΡ Π΄ΡΡΠ³ΠΈΠ΅ ΡΠ΅ΡΡΡΡΡ, ΠΈ ΡΡΠΈΡΡΠ²Π°Π΅Ρ ΡΡΠΎ ΠΏΡΠΈ ΡΠ°Π½ΠΆΠΈΡΠΎΠ²Π°Π½ΠΈΠΈ.
Π‘ΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎ Π²Π΅ΡΠ½ΠΎ! ΠΠ½Π΅ ΠΊΠ°ΠΆΠ΅ΡΡΡ ΡΡΠΎ ΠΎΡΠ΅Π½Ρ ΠΎΡΠ»ΠΈΡΠ½Π°Ρ ΠΈΠ΄Π΅Ρ. ΠΠΎΠ»Π½ΠΎΡΡΡΡ Ρ ΠΠ°ΠΌΠΈ ΡΠΎΠ³Π»Π°ΡΡΡΡ.
ΠΡΠ±ΠΎΠΉ ΠΏΡΠΎΠΊΡΡΠΎΡ, ΡΡΡ ΡΠ°ΠΌΠΈΠ»ΠΈΡ Π·Π°Π»ΠΈΠΏΠ»Π° Π² ΠΏΠΎΠΆΠ΅Π»ΡΠ΅Π²ΡΠ΅ΠΉ Π±ΡΠΌΠ°ΠΆΠΊΠ΅ ΠΏΠΎΠ΄ Π½Π°Π·Π²Π°Π½ΠΈΠ΅ΠΌ Β«Π³ΡΠ°ΡΠΈΠΊ ΠΏΡΠΈΡΠΌΠ° Π³ΡΠ°ΠΆΠ΄Π°Π½Β», ΠΊΠΎΠ½Π΅ΡΠ½ΠΎ, Π»ΡΠ±ΠΎΠΉ ΡΠ°ΡΡΠ½ΠΎΠΏΡΠ°ΠΊΡΠΈΠΊΡΡΡΠΈΠΉ http://imekinagkh.blogspot.com/2015/07/blog-post_95.html Ρ ΡΠΎΠ΄ΡΠΎΠ³Π°Π½ΠΈΠ΅ΠΌ Π³Π»ΡΠ΄ΠΈΡ Π² ΠΎΠΊΠ½ΠΎ Π½Π° ΡΠ°ΡΡΠΈΠΉ ΡΠ½Π΅Π³ ΠΈΠ»ΠΈ ΠΆΠ΅Π»ΡΠ΅ΡΡΠΈΠ΅ Π»ΠΈΡΡΡΡ.
ΠΠ°Π»ΠΈΡΡΠ° ΠΠ°Π·ΠΈΠ½ΠΎ: Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΎΠΏΡΡΠ° ΠΈ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ
ΠΠΎ Π²ΡΠ΅ΠΌ ΠΌΠΈΡΠ΅ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ ΠΊΠ°Π·ΠΈΠ½ΠΎ Π·Π°Π½ΠΈΠΌΠ°ΡΡ ΠΎΡΠΎΠ±ΠΎΠ΅ ΠΌΠ΅ΡΡΠΎ. ΠΠ΄Π½ΠΈΠΌ ΠΈΠ· Π±ΠΎΠ»Π΅Π΅ ΡΡΠ½ΡΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΡΠ΅Π»Π΅ΠΉ ΡΡΠΎΠΉ ΡΡΠ΅ΡΡ ΡΠ²Π»ΡΡΡΡΡ ΠΎΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ, ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡΠΈΠ΅ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠΈ Π΄Π»Ρ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΡ ΠΈ Π²ΡΠΈΠ³ΡΡΡΠ°. Π‘ΡΠ΅Π΄ΠΈ ΠΈΡ Π²ΡΠ΄Π΅Π»ΡΠ΅ΡΡΡ ΠΏΠΎΠ½ΡΡΠΈΠ΅ “ΠΏΠ°Π»ΠΈΡΡΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ”, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ Π² ΡΠ΅Π±Π΅ ΠΎΠ±ΠΈΠ»ΠΈΠ΅ ΠΈΠ³ΡΠΎΠ²ΡΡ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ, ΠΏΠ»Π°ΡΡΠΎΡΠΌ ΠΈ ΡΡΠ»ΡΠ³. Π Π΄Π°Π½Π½ΠΎΠΌ ΠΏΠΎΡΡΠ΅ Π±ΡΠ΄ΡΡ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½Ρ Π³Π»Π°Π²Π½ΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ ΠΈ ΠΏΡΠ΅Π²ΠΎΡΡ ΠΎΠ΄ΡΡΠ²Π° Π³Π°ΠΌΠΌΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ.
Π§ΡΠΎ Π΅ΡΡΡ Π³Π°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ?
ΠΠ°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΡΠΎ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΈΠ³Ρ ΠΈ ΡΡΠ»ΡΠ³, ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅ΠΌΡΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΠΌΠΎΠΆΠ΅Ρ Π²ΠΊΠ»ΡΡΠ°ΡΡ Π² ΡΠ΅Π±Ρ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ Π½Π°ΡΡΠΎΠ»ΡΠ½ΡΠ΅ ΠΈΠ³ΡΡ, Π°Π²ΡΠΎΠΌΠ°ΡΡ, ΠΏΠΎΠΊΠ΅Ρ, Π±ΡΠΊΠΌΠ΅ΠΊΠ΅ΡΡΠΊΠΈΠ΅ ΡΡΠ»ΡΠ³ΠΈ ΠΈ Π±ΠΎΠ»Π΅Π΅. ΠΠ»Π°Π²Π½ΠΎ ΠΎΡΠΌΠ΅ΡΠΈΡΡ, ΡΡΠΎ Π³Π°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΌΠΎΠΆΠ΅Ρ Π²Π°ΡΡΠΈΡΠΎΠ²Π°ΡΡΡΡ ΠΎΡ 1-Π³ΠΎ ΠΎΠΏΠ΅ΡΠ°ΡΠΎΡΠ° ΠΊ Π΄ΡΡΠ³ΠΎΠΌΡ, Π² Π·Π°Π²ΠΈΡΠΈΠΌΠΎΡΡΠΈ ΠΎΡ ΠΈΡ ΡΡΡΠ°ΡΠ΅Π³ΠΈΠΈ, ΡΠ΅Π»Π΅Π²ΠΎΠΉ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΈ Π΄ΠΎΡΡΡΠΏΠ½ΡΡ Π»ΠΈΡΠ΅Π½Π·ΠΈΠΉ Π½Π° Π·Π°Π±Π°Π²Ρ.
ΠΠΈΠ΄Ρ ΠΈΠ³Ρ Π² Π³Π°ΠΌΠΌΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ
1. Π‘Π»ΠΎΡΡ: ΠΠ³ΡΠ° Π½Π° Π°Π²ΡΠΎΠΌΠ°ΡΠ°Ρ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΠ΅Ρ ΠΈΠ· ΡΠ΅Π±Ρ ΠΎΠ΄Π½Ρ ΠΈΠ· ΡΠ°ΠΌΡΡ ΠΌΠΎΠ΄Π½ΡΡ ΡΠΎΡΠΌ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ. Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΡΠ»ΠΎΡΡ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ ΡΠ΅ΠΌΡ, Π·Π°Ρ Π²Π°ΡΡΠ²Π°ΡΡΠΈΠ΅ Π±ΠΎΠ½ΡΡΠ½ΡΠ΅ ΡΡΠ½ΠΊΡΠΈΠΈ ΠΈ ΠΎΠ³ΡΠΎΠΌΠ½ΡΠ΅ Π΄ΠΆΠ΅ΠΊΠΏΠΎΡΡ.
2. ΠΠ°ΡΡΠΎΠ»ΡΠ½ΡΠ΅ Π·Π°Π±Π°Π²Ρ: ΠΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΈΠ³ΡΡ, Π² ΡΠΎΠΌ ΡΠΈΡΠ»Π΅ Π±Π»ΡΠΊΠ΄ΠΆΠ΅ΠΊ, ΡΡΠ»Π΅ΡΠΊΠ° ΠΈ Π±Π°ΠΊΠΊΠ°ΡΠ°, ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΏΡΠΎΡΠ²ΠΈΡΡ ΡΠ²ΠΎΠΈ ΡΠ°ΠΊΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠΏΠΎΡΠΎΠ±Π½ΠΎΡΡΠΈ. ΠΠ½ΠΎΠ³ΠΈΠ΅ ΠΎΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ Π΄Π΅Π»Π°ΡΡ ΠΎΡΠ»ΠΈΡΠ½ΠΎΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠ΅ ΠΊΠ°ΠΊ ΠΆΠΈΠ²ΡΠ΅, ΡΠ°ΠΊ ΠΈ Π²ΠΈΡΡΡΠ°Π»ΡΠ½ΡΠ΅ Π²Π΅ΡΡΠΈΠΈ ΡΡΠΈΡ ΠΈΠ³Ρ.
3. ΠΠΎΠΊΠ΅Ρ: ΠΡΠΎΡ Π²ΠΈΠ΄ Π°Π·Π°ΡΡΠ½ΠΎΠΉ Π·Π°Π±Π°Π²Ρ Π½Π΅ΠΏΠΎΠ΄ΡΠ°ΠΆΠ°Π΅ΠΌΠΎ ΠΌΠΎΠ΄Π΅Π½ ΠΏΠΎΡΡΠ΅Π΄ΠΈ ΠΈΠ³ΡΠΎΠΊΠΎΠ², ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΏΠΎΡΠΈΡΠ°ΡΡ ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΠΎΠ΄Ρ ΠΎΠ΄. ΠΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΠ°Π·Π»ΠΈΡΠ½ΡΠ΅ Π²ΠΈΠ΄Ρ ΠΏΠΎΠΊΠ΅ΡΠ°, Π²ΠΊΠ»ΡΡΠ°Ρ ΡΠ΅ΠΊΡΠ°ΡΡΠΊΠΈΠΉ Ρ ΠΎΠ»Π΄Π΅ΠΌ ΠΈ ΠΎΠΌΠ°Ρ Ρ.
4. Π‘ΠΏΠΎΡΡΠΈΠ²Π½ΡΠ΅ ΡΡΠ°Π²ΠΊΠΈ: ΠΠ΅ΠΊΠΎΡΠΎΡΡΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΠ°ΠΊΠΆΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΡΠ»ΡΠ³ΠΈ Π±ΠΊ, Π΄ΠΎΠ·Π²ΠΎΠ»ΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π΄Π΅Π»Π°ΡΡ ΡΡΠ°Π²ΠΊΠΈ Π½Π° ΡΠΏΠΎΡΡΠΈΠ²Π½ΡΠ΅ ΡΠΎΠ±ΡΡΠΈΡ, Π² ΡΠΎΠΌ ΡΠΈΡΠ»Π΅ ΡΡΡΠ±ΠΎΠ», Π±Π°ΡΠΊΠ΅ΡΠ±ΠΎΠ» ΠΈ Π΄ΡΡΠ³ΠΈΠ΅ Π²ΠΈΠ΄Ρ ΡΠΏΠΎΡΡΠ°.
5. ΠΠΎΡΠ΅ΡΠ΅ΠΈ ΠΈ ΠΈΠ³ΡΡ Ρ ΠΆΠΈΠ²ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ: ΠΠΎΡΠ΅ΡΠ΅ΠΈ ΠΈ ΠΈΠ³ΡΡ Ρ ΠΆΠΈΠ²ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΡΠΉ ΠΎΠΏΡΡ Ρ ΡΠ»Π΅ΠΌΠ΅Π½ΡΠΎΠΌ Π»ΡΠ΄ΡΠΊΠΎΠ³ΠΎ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΡ.
ΠΡΠ΅ΠΈΠΌΡΡΠ΅ΡΡΠ²Π° Π³Π°ΠΌΠΌΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ
1. Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅: ΠΠ°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅Ρ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π²Π°ΡΠΈΠ°Π½ΡΡ ΠΈΠ³Ρ, ΡΡΠΎ Π΄Π΅Π»Π°Π΅Ρ Π°Π·Π°ΡΡΠ½ΡΠ΅ ΠΈΠ³ΡΡ Π±ΠΎΠ»Π΅Π΅ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌΠΈ ΠΈ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌΠΈ.
2. ΠΠΎΡΡΡΠΏΠ½ΠΎΡΡΡ: ΠΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ Π΄ΠΎΡΡΡΠΏΠ½Ρ ΠΊΠ°Π·ΠΈΠ½ΠΎ gama ΠΊΡΡΠ³Π»ΠΎΡΡΡΠΎΡΠ½ΠΎ Π²ΡΡ Π½Π΅Π΄Π΅Π»Ρ, ΡΡΠΎ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π½Π°ΡΠ»Π°ΠΆΠ΄Π°ΡΡΡΡ Π·Π°Π±Π°Π²Π°ΠΌΠΈ Π² Π»ΡΠ±ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ ΠΈ Π² Π»ΡΠ±ΠΎΠΌ ΠΌΠ΅ΡΡΠ΅.
3. ΠΠΎΠ½ΡΡΡ ΠΈ Π°ΠΊΡΠΈΠΈ: ΠΠ½ΠΎΠ³ΠΈΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ Π±ΠΎΠ½ΡΡΡ ΠΈ Π°ΠΊΡΠΈΠΎΠ½Π½ΡΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΡ, ΡΡΠΎ ΡΠ²Π΅Π»ΠΈΡΠΈΠ²Π°Π΅Ρ ΡΠ°Π½ΡΡ Π½Π° Π²ΡΠΈΠ³ΡΡΡ ΠΈ Π΄Π΅Π»Π°Π΅Ρ ΠΈΠ³ΡΡ Π±ΠΎΠ»Π΅Π΅ Π²ΡΠ³ΠΎΠ΄Π½ΠΎΠΉ.
4. ΠΡΡΠΎΡΠ°ΠΉΡΠ°Ρ ΡΡΡΠΏΠ΅Π½Ρ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ: ΠΠΌΠ΅ΡΡΠΈΠ΅ Π»ΠΈΡΠ΅Π½Π·ΠΈΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡ Π²Π΅Π΄ΡΡΠΈΠ΅ ΡΠ΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΠΈ ΡΠΈΡΡΠΎΠ²Π°Π½ΠΈΡ Π΄Π»Ρ Π·Π°ΡΠΈΡΡ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΡΡ Π΄Π°Π½Π½ΡΡ ΠΈ Π΄Π΅Π½Π΅ΠΆΠ½ΡΡ ΡΡΠ°Π½Π·Π°ΠΊΡΠΈΠΉ ΠΈΠ³ΡΠΎΠΊΠΎΠ².
5. ΠΠ»ΠΈΠ΅Π½ΡΡΠΊΠ°Ρ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΠ°: ΠΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²ΠΎ ΠΎΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΊΡΡΠ³Π»ΠΎΡΡΡΠΎΡΠ½ΡΡ ΡΠ΅Ρ Π½ΠΎ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΡ, ΡΡΠΎ Π΄Π°Π΅Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΡΡΡΠ΅ΠΌΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΠ΅ΡΠ°ΡΡ Π²ΠΎΠ·Π½ΠΈΠΊΠ°ΡΡΠΈΠ΅ Π·Π°Π΄Π°ΡΠΈ ΠΈ ΠΏΠΎΠ»ΡΡΠ°ΡΡ ΠΎΡΠ²Π΅ΡΡ Π½Π° Π²ΠΎΠΏΡΠΎΡΡ.
ΠΠ°ΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅
ΠΠ°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΡΠΎ ΠΌΠ½ΠΎΠ³ΠΎΡΡΠΎΠ²Π½Π΅Π²ΡΠΉ ΠΌΠΈΡ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ, ΠΊΠΎΡΠΎΡΡΠΉ ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠΈΡΠΎΠΊΠΈΠΉ ΡΠΏΠ΅ΠΊΡΡ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ Π΄Π»Ρ Π²Π΅ΡΠ΅Π»ΠΈΠΉ. Π‘ΠΎΡΠ΅ΡΠ°Π½ΠΈΠ΅ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΡ ΠΈΠ³Ρ, Π΄ΠΎΡΡΡΠΏΠ½ΠΎΡΡΠΈ, ΠΏΡΠΈΠ·ΠΎΠ² ΠΈ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ Π΄Π΅Π»Π°Π΅Ρ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌ Π²ΡΠ±ΠΎΡΠΎΠΌ Π΄Π»Ρ ΠΌΠ½ΠΎΠ³ΠΈΡ Π»ΡΠ±ΠΈΡΠ΅Π»Π΅ΠΉ ΠΏΡΠ»Π°. ΠΠΎΠΌΠ½ΠΈΡΠ΅ ΠΎΠ± ΠΎΡΠ²Π΅ΡΡΡΠ²Π΅Π½Π½ΠΎΡΡΠΈ ΠΏΡΠΈ ΠΈΠ³ΡΠ΅ ΠΈ Π²ΡΠ±ΠΈΡΠ°ΠΉΡΠ΅ ΡΠΎΠ»ΡΠΊΠΎ Π»ΠΈΡΠ΅Π½Π·ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΈ ΠΈΡΠΏΡΡΠ°Π½Π½ΡΠ΅ ΠΏΠ»Π°ΡΡΠΎΡΠΌΡ Π΄Π»Ρ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΠΎΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ. Π€ΠΎΡΡΡΠ½Ρ Π²Π°ΠΌ Π² Π²Π°ΡΠΈΡ Π°Π·Π°ΡΡΠ½ΡΡ ΠΏΡΠΈΠΊΠ»ΡΡΠ΅Π½ΠΈΡΡ !
ΠΠΎΠΌΠΏΠ°Π½ΠΈΡ Β«Π Π£ΠΠΠΠΠΠΠ’Β» ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ ΠΏΠΎΡΡΡΠΎΠΈΡΡ ΡΠΊΠΎ Π΄ΠΎΠΌ ΠΈΠ· Π°ΡΠ±ΠΎΠ»ΠΈΡΠ°. ΠΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅ΠΌ ΡΠΎΠ»ΡΠΊΠΎ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ ΠΊΠ»ΠΈΠ΅Π½ΡΠ°ΠΌ. ΠΡΠ»ΠΈ Π²Ρ ΠΊ Π½Π°ΠΌ ΠΎΠ±ΡΠ°ΡΠΈΡΠ΅ΡΡ, ΡΠΎ ΠΏΡΠ°Π²ΠΈΠ»ΡΠ½ΡΠΉ Π²ΡΠ±ΠΎΡ Π½Π°Π΄Π΅ΠΆΠ½ΠΎΠ³ΠΎ ΠΈΡΠΏΠΎΠ»Π½ΠΈΡΠ΅Π»Ρ ΡΠ°Π±ΠΎΡ ΡΠ΄Π΅Π»Π°Π΅ΡΠ΅. ΠΡΠ΅ΡΠ΅ ΠΏΡΠΎΠ΅ΠΊΡΡ Π΄ΠΎΠΌΠΎΠ² ΠΈΠ· Π°ΡΠ±ΠΎΠ»ΠΈΡΠ°? Rundament.ru – ΠΏΠΎΡΡΠ°Π», Π³Π΄Π΅ Π²Ρ Π² Π»ΡΠ±ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ ΠΌΠΎΠΆΠ΅ΡΠ΅ Ρ ΠΎΡΠ·ΡΠ²Π°ΠΌΠΈ ΠΈ ΡΠ΅Π½Π°ΠΌΠΈ ΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΡΡΡΡ. ΠΠ°ΠΆΠ΄ΡΠΉ ΡΠΎΡΡΡΠ΄Π½ΠΈΠΊ ΠΊΠΎΠΌΠΏΠ°Π½ΠΈΠΈ Β«Π Π£ΠΠΠΠΠΠΠ’Β» Π·Π½Π°Π΅Ρ ΡΠ²ΠΎΠ΅ Π΄Π΅Π»ΠΎ Π½Π° Β«5Β». ΠΡ Π½ΠΈΠΊΠΎΠ³Π΄Π° Π½Π΅ ΡΠΊΡΡΠ²Π°Π΅ΠΌ ΠΎΠ±ΡΠ΅ΠΊΡΡ ΠΎΡ ΠΏΡΠΎΡΠΌΠΎΡΡΠ° ΠΏΠΎΡΠ΅Π½ΡΠΈΠ°Π»ΡΠ½ΡΡ Π·Π°ΠΊΠ°Π·ΡΠΈΠΊΠΎΠ². Π‘Π²ΡΠΆΠΈΡΠ΅ΡΡ Ρ Π½Π°ΠΌΠΈ ΠΈ ΠΏΠΎΠ»ΡΡΠΈΡΠ΅ ΡΠ°Π·Π²Π΅ΡΠ½ΡΡΡΡ ΠΊΠΎΠ½ΡΡΠ»ΡΡΠ°ΡΠΈΡ. Π Π°Π±ΠΎΡΠ°Π΅ΠΌ Π±ΠΎΠ»ΡΡΠ΅ 18-ΡΠΈ Π»Π΅Ρ, Π³ΠΎΡΠΎΠ²Ρ Π²ΡΠ΅ ΠΈΠ΄Π΅ΠΈ Π²ΠΎΠΏΠ»ΠΎΡΠΈΡΡ Π² ΠΆΠΈΠ·Π½Ρ!
Autovostok ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅Ρ Π·Π°ΠΏΡΠ°ΡΡΠΈ Π΄Π»Ρ ΠΊΠΈΡΠ°ΠΉΡΠΊΠΈΡ ΠΌΠ°ΡΠΈΠ½. ΠΡ Π²ΡΠ΅Π³Π΄Π° ΡΡΡΠ΅ΠΌΠΈΠΌΡΡ ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠΈΡΡ ΡΠ²ΠΎΠΈΡ ΠΊΠ»ΠΈΠ΅Π½ΡΠΎΠ² Π²ΡΡΠΎΡΠ°ΠΉΡΠΈΠΌ ΡΡΠΎΠ²Π½Π΅ΠΌ ΡΠ΅ΡΠ²ΠΈΡΠ° ΠΈ ΠΊΠ°ΡΠ΅ΡΡΠ²ΠΎΠΌ ΡΠΎΠ²Π°ΡΠΎΠ². ΠΠ°ΡΠ°Π½ΡΠΈΡΡΠ΅ΠΌ ΡΠ°Π·ΡΠΌΠ½ΡΠ΅ ΡΠ΅Π½Ρ. ΠΡΠ΅ΡΠ΅ ΠΏΠΎΠ΄Π±ΠΎΡ Π·Π°ΠΏΡΠ°ΡΡΠ΅ΠΉ Π΄Π»Ρ ΠΊΠΈΡΠ°ΠΉΡΠΊΠΈΡ Π°Π²ΡΠΎΠΌΠΎΠ±ΠΈΠ»Π΅ΠΉ? Autovostok.shop – Π·Π΄Π΅ΡΡ Π²Ρ ΡΠ·Π½Π°Π΅ΡΠ΅, ΠΊΠ°ΠΊ Π½Π°ΡΠ°ΡΡ ΡΠ°Π±ΠΎΡΠ°ΡΡ Ρ Π½Π°ΠΌΠΈ. ΠΡΠΎΡΠ΅ΡΡ Π·Π°ΠΊΠ°Π·Π° Π°Π²ΡΠΎΠ·Π°ΠΏΡΠ°ΡΡΠ΅ΠΉ ΡΠ΄ΠΎΠ±Π½ΡΠΉ ΠΈ ΠΏΡΠΎΡΡΠΎΠΉ. ΠΠΎΡΡΠ°Π²ΠΊΠ° ΠΎΠΏΠ΅ΡΠ°ΡΠΈΠ²Π½Π°Ρ, ΠΈ ΡΡΠΎ ΡΠ°Π΄ΡΠ΅Ρ. ΠΡΠ΅Π΄Π»Π°Π³Π°Π΅ΠΌ Π²ΡΠ΅ Π½Π΅ΠΎΠ±Ρ ΠΎΠ΄ΠΈΠΌΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ½Π΅Π½ΡΡ. ΠΠΎΠ½ΠΈΠΌΠ°Π΅ΠΌ Π²Π°ΠΆΠ½ΠΎΡΡΡ Π½Π°Π΄Π΅ΠΆΠ½ΠΎΡΡΠΈ Π²Π°ΡΠ΅ΠΉ ΠΌΠ°ΡΠΈΠ½Ρ. Π‘ ΡΠ΄ΠΎΠ²ΠΎΠ»ΡΡΡΠ²ΠΈΠ΅ΠΌ Π΄Π°Π΄ΠΈΠΌ Π²Π°ΠΌ ΠΊΠΎΠ½ΡΡΠ»ΡΡΠ°ΡΠΈΡ ΠΈ ΠΏΠΎΠ΄Π±Π΅ΡΠ΅ΠΌ Π½ΡΠΆΠ½ΡΠ΅ Π·Π°ΠΏΡΠ°ΡΡΠΈ. Π‘ΠΎΡ ΡΠ°Π½ΠΈΡΠ΅ Π΄Π΅Π½Π΅ΠΆΠ½ΡΠ΅ ΡΡΠ΅Π΄ΡΡΠ²Π° ΠΈ Π½Π΅ΡΠ²Ρ!
ΠΡΠ΅ΠΌΠ΅Π½Π½Π°Ρ ΡΠ΅Π³ΠΈΡΡΡΠ°ΡΠΈΡ Π² ΠΠΎΡΠΊΠ²Π΅: ΠΡΡΡΡΠΎ ΠΈ ΠΠ΅Π³Π°Π»ΡΠ½ΠΎ!
ΠΡΠ΅ΡΠ΅, Π³Π΄Π΅ ΠΎΡΠΎΡΠΌΠΈΡΡ Π²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΡΠ΅Π³ΠΈΡΡΡΠ°ΡΠΈΡ Π² ΠΠΎΡΠΊΠ²Π΅? ΠΡ Π³Π°ΡΠ°Π½ΡΠΈΡΡΠ΅ΠΌ Π±ΡΡΡΡΠΎΠ΅ ΠΈ Π»Π΅Π³Π°Π»ΡΠ½ΠΎΠ΅ ΠΎΡΠΎΡΠΌΠ»Π΅Π½ΠΈΠ΅ Π±Π΅Π· ΠΎΡΠ΅ΡΠ΅Π΄Π΅ΠΉ ΠΈ Π»ΠΈΡΠ½ΠΈΡ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠΎΠ². ΠΠ°ΡΠ΅ ΡΠΏΠΎΠΊΠΎΠΉΡΡΠ²ΠΈΠ΅ β Π½Π°ΡΠ° Π·Π°Π±ΠΎΡΠ°!
ΠΠΈΠ½ΠΈΠΌΡΠΌ ΡΡΠΈΠ»ΠΈΠΉ β’ ΠΠ°ΠΊΡΠΈΠΌΡΠΌ ΡΠ΄ΠΎΠ±ΡΡΠ²Π° β’ ΠΠΎΠ»Π½Π°Ρ Π»Π΅Π³Π°Π»ΡΠ½ΠΎΡΡΡ
Π‘Π²ΡΠΆΠΈΡΠ΅ΡΡ Ρ Π½Π°ΠΌΠΈ ΠΏΡΡΠΌΠΎ ΡΠ΅ΠΉΡΠ°Ρ!
.
aviator predictor
Lineage 2 Interlude ΡΡΠΎ ΠΎΠ΄Π½ΠΎ ΠΈΠ· ΡΠ°ΠΌΡΡ ΡΡΠΊΠΈΡ Π΄ΠΎΠ±Π°Π²Π»Π΅Π½ΠΈΠΉ ΠΊ ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎΠΉ MMORPG Lineage 2, Π²ΡΠΏΡΡΠ΅Π½Π½ΠΎΠ΅ ΠΊΠΎΠΌΠΏΠ°Π½ΠΈΠ΅ΠΉ NCsoft Π² 2007 Π³ΠΎΠ΄Ρ. ΠΡΠΎ ΠΎΠ±Π½ΠΎΠ²Π»Π΅Π½ΠΈΠ΅ ΡΡΠ°Π»ΠΎ Π·Π½Π°ΠΊΠΎΠ²ΡΠΌ ΡΠΎΠ±ΡΡΠΈΠ΅ΠΌ Π΄Π»Ρ ΡΠΎΠΎΠ±ΡΠ΅ΡΡΠ²Π° ΠΈΠ³ΡΠΎΠΊΠΎΠ², ΡΠ°ΠΊ ΠΊΠ°ΠΊ ΠΎΠ½ΠΎ ΠΏΡΠΈΠ½Π΅ΡΠ»ΠΎ Ρ ΡΠΎΠ±ΠΎΠΉ ΠΎΠ³ΡΠΎΠΌΠ½ΠΎΠ΅ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²ΠΎ Π½ΠΎΠ²ΡΡ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ, ΡΠ»ΡΡΡΠ΅Π½ΠΈΠΉ ΠΈ ΠΊΠΎΠ½ΡΠΈΠ³ΡΡΠ°ΡΠΈΠΉ, Π΄Π΅Π»Π°Ρ ΠΈΠ³ΡΡ Π΅ΡΠ΅ Π±ΠΎΠ»Π΅Π΅ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΠΎΠΉ.
ΠΠ»Π°Π²Π½ΡΠ΅ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ Lineage 2 Interlude
1. ΠΠΎΠ²ΡΠ΅ ΡΠ°ΡΡ ΠΈ ΠΊΠ»Π°ΡΡΡ
Interlude ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΠ»ΠΎ Π½ΠΎΠ²ΡΡ ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠ΅ΠΉ ΠΈ ΠΊΠ»Π°ΡΡΠΎΠ². ΠΠ³ΡΠΎΠΊΠΈ ΠΏΠΎΠ»ΡΡΠΈΠ»ΠΈ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΈΠ·Π±ΠΈΡΠ°ΡΡ ΠΈΠ· ΡΡΠ΄Π° Π΄ΠΎΠΏΠΎΠ»Π½ΠΈΡΠ΅Π»ΡΠ½ΡΡ ΠΊΠ»Π°ΡΡΠΎΠ², ΡΡΠΎ Π΄ΠΎΠ±Π°Π²ΠΈΠ»ΠΎ Π½ΠΎΠ²ΡΠ΅ ΡΡΡΠ°ΡΠ΅Π³ΠΈΠΈ ΠΈ ΡΠ°ΠΊΡΠΈΠΊΠΈ Π² ΠΈΠ³ΡΠΎΠ²ΠΎΠΉ ΠΏΡΠΎΡΠ΅ΡΡ. ΠΡΠΎ ΠΎΠ±ΠΈΠ»ΠΈΠ΅ ΠΏΠΎΠ·Π²ΠΎΠ»ΠΈΠ»ΠΎ ΡΠ΄Π΅Π»Π°ΡΡ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ ΠΊΠΎΠΌΠ±ΠΈΠ½Π°ΡΠΈΠΈ Π² ΠΊΠΎΠΌΠ°Π½Π΄Π΅ ΠΈ ΡΠ»ΡΡΡΠΈΠ»ΠΎ Π±Π°Π»Π°Π½Ρ ΠΌΠ΅ΠΆΠ΄Ρ ΠΊΠ»Π°ΡΡΠ°ΠΌΠΈ.
2. Π£Π»ΡΡΡΠ΅Π½Π½Π°Ρ Π³ΡΠ°ΡΠΈΠΊΠ° ΠΈ ΠΈΠ½ΡΠ΅ΡΡΠ΅ΠΉΡ
Π‘ ΠΎΠ±Π½ΠΎΠ²Π»Π΅Π½ΠΈΠ΅ΠΌ Interlude Π±ΡΠ»Π° Π·Π½Π°ΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΠ»ΡΡΡΠ΅Π½Π° Π³ΡΠ°ΡΠΈΠΊΠ°. ΠΠΎΠ»Π΅Π΅ Π΄Π΅ΡΠ°Π»ΠΈΠ·ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΌΠΎΠ΄Π΅Π»ΠΈ ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠ΅ΠΉ ΠΈ ΠΆΠΈΠ²ΠΎΡΠ½ΡΡ , ΡΠ°ΠΊΠΆΠ΅ ΡΠ»ΡΡΡΠ΅Π½Π½ΡΠ΅ ΡΠ΅ΠΊΡΡΡΡΡ ΡΠ΄Π΅Π»Π°Π»ΠΈ ΠΈΠ³ΡΠΎΠ²ΠΎΠΉ ΠΌΠΈΡ Π΅ΡΠ΅ Π±ΠΎΠ»Π΅Π΅ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌ ΠΈ Π°ΡΠΌΠΎΡΡΠ΅ΡΠ½ΡΠΌ. ΠΠ½ΡΠ΅ΡΡΠ΅ΠΉΡ Π±ΡΠ» ΠΏΠ΅ΡΠ΅ΡΠ°Π±ΠΎΡΠ°Π½ Π΄Π»Ρ Π±ΠΎΠ»ΡΡΠ΅ΠΉ ΡΠ΄ΠΎΠ±ΡΡΠ²Π°, ΡΡΠΎ ΠΎΠ±Π»Π΅Π³ΡΠΈΠ»ΠΎ Π½Π°Π²ΠΈΠ³Π°ΡΠΈΡ ΠΈ ΡΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠ΅.
3. ΠΠΎΠ²ΡΠ΅ ΠΊΠ²Π΅ΡΡΡ ΠΈ Π»ΠΎΠΊΠ°ΡΠΈΠΈ
Interlude Π΄ΠΎΠ±Π°Π²ΠΈΠ»ΠΎ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ Π½ΠΎΠ²ΡΡ ΠΊΠ²Π΅ΡΡΠΎΠ² ΠΈ Π»ΠΎΠΊΠ°ΡΠΈΠΉ, Π΄ΠΎΠ·Π²ΠΎΠ»ΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΠΈΠ·ΡΡΠΈΡΡ ΠΌΠΈΡ ΠΠ΄Π΅Π½ Π΅ΡΠ΅ ΠΏΠΎΠ³Π»ΡΠ±ΠΆΠ΅. ΠΡΠΎ ΠΎΠ±Π½ΠΎΠ²Π»Π΅Π½ΠΈΠ΅ ΡΠ΄Π΅Π»Π°Π»ΠΎ Π·Π°Π±Π°Π²Ρ Π±ΠΎΠ»Π΅Π΅ Π½Π°ΡΡΡΠ΅Π½Π½ΠΎΠΉ ΠΈ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΠΎΠΉ, ΠΏΡΠ΅Π΄Π»Π°Π³Π°Ρ ΡΠ°Π·Π½ΡΠ΅ Π·Π°Π΄Π°Π½ΠΈΡ, ΠΎΡ ΠΎΠ±ΡΡΠ½ΡΡ ΠΎΡ ΠΎΡΠ½ΠΈΡΡΠΈΡ ΠΊΠ²Π΅ΡΡΠΎΠ² Π΄ΠΎ ΡΡΡΠ΄Π½ΡΡ Π·Π°Π΄Π°Π½ΠΈΠΉ Π½Π° ΠΏΠΎΠ»ΡΡΠ΅Π½ΠΈΠ΅ ΡΠ΅Π΄ΡΠ°ΠΉΡΠΈΡ ΡΠ΅Π»ΠΈΠΊΠ²ΠΈΠΉ.
4. ΠΠ²Π ΠΈ Π½ΠΎΠ²ΡΠ΅ ΡΠΈΡΡΠ΅ΠΌΡ Π±ΠΎΡΡΠ±Ρ
ΠΠ»ΡΡΠ΅Π²ΡΠΌ Π½ΡΠ°Π½ΡΠΎΠΌ Lineage 2 ΡΠ²Π»ΡΠ΅ΡΡΡ PvP, ΠΈ Interlude ΡΠ΄Π΅Π»Π°Π»ΠΎ ΡΡΠΎΡ ΡΠ»Π΅ΠΌΠ΅Π½Ρ Π΅ΡΠ΅ Π±ΠΎΠ»Π΅Π΅ Π·Π°Ρ Π²Π°ΡΡΠ²Π°ΡΡΠΈΠΌ. ΠΡΠ»ΠΈ Π²Π½Π΅Π΄ΡΠ΅Π½Ρ Π½ΠΎΠ²ΡΠ΅ ΡΠΎΡΠΌΠ°ΡΡ Π±ΠΎΡ ΠΈ ΡΠΈΡΡΠ΅ΠΌΡ ΠΊΠ»Π°Π½ΠΎΠ², ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΡΡΠ°ΡΡΠ²ΠΎΠ²Π°ΡΡ Π² ΠΌΠ°ΡΡΡΠ°Π±Π½ΡΡ ΡΡΠ°ΠΆΠ΅Π½ΠΈΡΡ ΠΈ ΠΎΡΠ°Π΄Π°Ρ Π·Π°ΠΌΠΊΠΎΠ². ΠΡΠΎ Π΄ΠΎΠ±Π°Π²ΠΈΠ»ΠΎ Π² ΠΈΠ³ΡΡ ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ΅ΡΠΊΠΈΠΉ ΡΠ»Π΅ΠΌΠ΅Π½Ρ, Π² ΠΊΠ°ΠΊΠΎΠΌ ΠΌΠ΅ΡΡΠ΅ ΠΊΠΎΠΌΠ°Π½Π΄Π½Π°Ρ ΡΠ°Π±ΠΎΡΠ° ΠΈ ΠΏΠ»Π°Π½ΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΡΡΠ°Π»ΠΈ Π²Π°ΠΆΠ½ΡΠΌΠΈ Π°ΡΠΏΠ΅ΠΊΡΠ°ΠΌΠΈ ΡΡΠΏΠ΅Ρ Π°.
5. ΠΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΠ° Π·Π°Π±Π°Π²Ρ ΠΈ Π½ΠΎΠ²ΡΠ΅ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΡ
ΠΠ»Π°Π³ΠΎΠ΄Π°ΡΡ Π²Π²Π΅Π΄Π΅Π½ΠΈΡ Π½ΠΎΠ²ΡΡ ΠΊΡΠ°ΡΡΠΎΠ²ΡΡ ΡΠΈΡΡΠ΅ΠΌ ΠΈ ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΠΎΠ², ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΠ° ΠΌΠΈΡΠ° Lineage 2 ΡΡΠ°Π»Π° Π±ΠΎΠ»Π΅Π΅ Π΄ΠΈΠ½Π°ΠΌΠΈΡΠ½ΠΎΠΉ. ΠΠ³ΡΠΎΠΊΠΈ ΡΠΌΠΎΠ³ΡΡ ΡΠ²ΠΎΡΠΈΡΡ ΠΈ ΠΎΠ±Π»Π°Π³ΠΎΡΠ°ΠΆΠΈΠ²Π°ΡΡ ΠΎΠ±ΠΎΡΡΠ΄ΠΎΠ²Π°Π½ΠΈΠ΅, ΡΡΠΎ Π΅ΡΠ΅ Π±ΠΎΠ»Π΅Π΅ ΡΠ°ΡΡΠΈΡΠΈΠ»ΠΎ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠΈ ΠΊΠ°ΡΡΠΎΠΌΠΈΠ·Π°ΡΠΈΠΈ ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠ΅ΠΉ http://prlog.ru/analysis/l2.hopzone.net
Π‘ΠΎΠΎΠ±ΡΠ΅ΡΡΠ²ΠΎ ΠΈ ΠΊΡΠ»ΡΡΡΡΠ°
Lineage 2 Interlude ΡΠ°ΠΊΠΆΠ΅ ΡΡΠ°Π» Π³Π»Π°Π²Π½ΡΠΌ ΡΡΠ°ΠΏΠΎΠΌ Π² ΡΠ°Π·Π²ΠΈΡΠΈΠΈ ΠΈΠ³ΡΠΎΠ²ΠΎΠ³ΠΎ ΡΠΎΠΎΠ±ΡΠ΅ΡΡΠ²Π°. ΠΠ³ΡΠΎΠΊΠΈ Π²ΡΠ΅Π³ΠΎ ΠΌΠΈΡΠ° ΡΠΎΠ±ΠΈΡΠ°Π»ΠΈΡΡ Π²ΠΊΡΠΏΠ΅, ΠΎΠ±Π³ΠΎΠ²Π°ΡΠΈΠ²Π°Π»ΠΈ ΡΡΡΠ°ΡΠ΅Π³ΠΈΠΈ, Π΄Π΅Π»ΠΈΠ»ΠΈΡΡ ΠΎΠΏΡΡΠΎΠΌ ΠΈ Π΄Π΅Π»Π°Π»ΠΈ ΠΊΠ»Π°Π½Ρ. ΠΡΠΎ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΠ΅ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Π»ΠΈΡΡ ΠΎΠ±ΠΎΠ³Π°ΡΠ°Π»ΠΎ ΠΈΠ³ΡΠΎΠ²ΠΎΠΉ ΠΏΡΠΎΡΠ΅ΡΡ, Π½ΠΎ ΠΈ ΡΠΏΠΎΡΠΎΠ±ΡΡΠ²ΠΎΠ²Π°Π»ΠΎ ΠΏΠΎΡΠ²Π»Π΅Π½ΠΈΡ ΠΊΡΠ»ΡΡΡΡΡ, ΠΎΡΠ½ΠΎΠ²Π°Π½Π½ΠΎΠΉ Π½Π° ΡΠΎΡΡΡΠ΄Π½ΠΈΡΠ΅ΡΡΠ²Π΅ ΠΈ ΠΊΠΎΠ½ΠΊΡΡΠ΅Π½ΡΠΈΠΈ.
ΠΠ°ΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅
Lineage 2 Interlude ΡΡΠΎ ΠΊΠ»Π°ΡΡΠΈΠΊΠ° MMORPG, ΠΊΠΎΡΠΎΡΠ°Ρ ΠΎΡΡΠ°Π²ΠΈΠ»Π° Π·Π½Π°ΡΠΈΠΌΡΠΉ ΡΠ»Π΅Π΄ Π² ΠΈΡΡΠΎΡΠΈΠΈ ΠΈΠ³Ρ. Π‘ Π΅Π³ΠΎ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠΌΠΈ ΠΌΠ΅Ρ Π°Π½ΠΈΠΊΠ°ΠΌΠΈ, ΠΌΠ½ΠΎΠ³ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ΠΌ ΠΊΠΎΠ½ΡΠ΅Π½ΡΠ° ΠΈ Π°ΠΊΡΠΈΠ²Π½ΡΠΌ ΠΎΠ±ΡΠ΅ΡΡΠ²ΠΎΠΌ, ΠΎΠ½ΠΎ Π½Π΅ ΠΏΡΠ΅ΠΊΡΠ°ΡΠ°Π΅Ρ Π·Π°Π²Π»Π΅ΠΊΠ°ΡΡ Π²Π΅ΡΡ ΠΈΡ ΠΈ Π½ΠΎΠ²ΡΡ ΠΈΠ³ΡΠΎΠΊΠΎΠ². ΠΠ΅ΡΠΌΠΎΡΡΡ Π½Π° ΡΠΎ ΡΡΠΎ Ρ ΠΌΠΎΠΌΠ΅Π½ΡΠ° Π΅Π³ΠΎ Π²ΡΡ ΠΎΠ΄Π° ΠΏΡΠΎΡΠ»ΠΎ ΠΌΠ½ΠΎΠ³ΠΎ Π»Π΅Ρ, ΡΠ°Π½Π°ΡΡ ΠΊΠ°ΠΊ ΠΈ ΡΠ°Π½ΡΡΠ΅ Π²ΠΎΠ·Π²ΡΠ°ΡΠ°ΡΡΡΡ Π² ΠΌΠΈΡ ΠΠ΄Π΅Π½, ΡΡΠΎΠ± ΠΏΠ΅ΡΠ΅ΠΆΠΈΡΡ Π½Π΅Π·Π°Π±ΡΠ²Π°Π΅ΠΌΡΠ΅ ΠΏΡΠΈΠΊΠ»ΡΡΠ΅Π½ΠΈΡ ΠΈ ΡΡΠ°Π·ΠΈΡΡΡΡ Ρ Π²ΡΠ°Π³Π°ΠΌΠΈ. ΠΡΠ»ΠΈ Π²Ρ Π΅ΡΠ΅ Π½Π΅ Π·Π½Π°ΠΊΠΎΠΌΡ Ρ ΡΡΠΈΠΌ Π΄ΠΎΠΏΠΎΠ»Π½Π΅Π½ΠΈΠ΅ΠΌ, Π½Π°ΡΡΠΎΠΉΡΠΈΠ²ΠΎ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΡΡΡ ΠΎΠΊΡΠ½ΡΡΡΡΡ Π² Π΅Π³ΠΎ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠΉ ΠΌΠΈΡ.
Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΡΠ°Π»ΠΈ ΠΎΠ΄Π½ΠΈΠΌ ΠΈΠ· ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΡ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΠΉ Π΄Π»Ρ ΠΌΠΈΠ»Π»ΠΈΠΎΠ½ΠΎΠ² ΠΈΠ³ΡΠΎΠΊΠΎΠ² ΠΏΠΎ Π²ΡΠ΅ΠΌΡ ΠΌΠΈΡΡ. ΠΡΠΎ ΡΠΈΡΡΠΎΠ²ΡΠ΅ ΠΏΠ»ΠΎΡΠ°Π΄ΠΊΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΠΈΡΠΎΠΊΠΈΠΉ Π²ΡΠ±ΠΎΡ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ, Π²ΠΊΠ»ΡΡΠ°Ρ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠ»ΠΎΡΡ, ΠΊΠ°ΡΡΠΎΡΠ½ΡΠ΅ ΠΈΠ³ΡΡ, ΡΡΠ»Π΅ΡΠΊΡ ΠΈ ΠΆΠΈΠ²ΡΠ΅ ΡΡΠ°Π½ΡΠ»ΡΡΠΈΠΈ Ρ ΡΠ΅Π°Π»ΡΠ½ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ. Π’Π΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ Π»Π΅ΠΆΠ°Ρ Π² ΠΎΡΠ½ΠΎΠ²Π΅ ΡΡΠΈΡ ΠΏΠ»Π°ΡΡΠΎΡΠΌ, ΠΏΠΎΡΡΠΎΡΠ½Π½ΠΎ ΡΠΎΠ²Π΅ΡΡΠ΅Π½ΡΡΠ²ΡΡΡΡΡ, Π΄Π΅Π»Π°Ρ ΠΏΡΠΎΡΠ΅ΡΡ ΠΈΠ³ΡΡ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌ, Π½ΠΎ ΠΈ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΡΠΌ.
### ΠΡΠ½ΠΎΠ²Π½ΡΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ
1. **Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΈΠ³Ρ**
ΠΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΡΡΡΡΠΈ Π²Π°ΡΠΈΠ°Π½ΡΠΎΠ² ΠΈΠ³Ρ. ΠΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΡ ΠΈΠ³ΡΠΎΠ²ΡΡ Π°Π²ΡΠΎΠΌΠ°ΡΠΎΠ² Π΄ΠΎ Π½Π°ΡΡΠΎΠ»ΡΠ½ΡΡ ΠΈΠ³Ρ, ΡΠ°ΠΊΠΈΡ ΠΊΠ°ΠΊ ΠΏΠΎΠΊΠ΅Ρ ΠΈ Π±Π»ΡΠΊΠ΄ΠΆΠ΅ΠΊ, ΠΈ Π΄ΠΎ ΡΠ»ΠΎΠΆΠ½ΡΡ ΠΈΠ³ΡΠΎΠ²ΡΡ ΡΠΎΡ Ρ ΡΠ»Π΅ΠΌΠ΅Π½ΡΠ°ΠΌΠΈ Π²ΠΈΡΡΡΠ°Π»ΡΠ½ΠΎΠΉ ΠΈ Π΄ΠΎΠΏΠΎΠ»Π½Π΅Π½Π½ΠΎΠΉ ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΠΈ. ΠΠ³ΡΠΎΠΊΠΈ ΠΌΠΎΠ³ΡΡ Π²ΡΠ±ΡΠ°ΡΡ Π»ΡΠ±ΠΈΠΌΡΡ ΠΈΠ³ΡΡ, ΠΈΡΡ ΠΎΠ΄Ρ ΠΈΠ· ΡΠ²ΠΎΠ΅Π³ΠΎ ΠΎΠΏΡΡΠ° ΠΈ ΠΏΡΠ΅Π΄ΠΏΠΎΡΡΠ΅Π½ΠΈΠΉ.
2. **ΠΠΈΠ²ΡΠ΅ Π΄ΠΈΠ»Π΅ΡΡ ΠΈ ΡΡΡΠΈΠΌΠΈΠ½Π³**
Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΠ°ΡΡΠΎ ΠΈΠΌΠ΅ΡΡ ΡΠ°Π·Π΄Π΅Π» Ρ ΠΆΠΈΠ²ΡΠΌΠΈ ΠΈΠ³ΡΠ°ΠΌΠΈ, Π³Π΄Π΅ ΠΈΠ³ΡΠ° Π²Π΅Π΄Π΅ΡΡΡ ΡΠ΅Π°Π»ΡΠ½ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ ΡΠ΅ΡΠ΅Π· Π²ΠΈΠ΄Π΅ΠΎ-ΡΡΠ°Π½ΡΠ»ΡΡΠΈΡ. ΠΡΠΎ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ ΠΎΡΡΡΠΈΡΡ Π°ΡΠΌΠΎΡΡΠ΅ΡΡ Π½Π°ΡΡΠΎΡΡΠ΅Π³ΠΎ ΠΊΠ°Π·ΠΈΠ½ΠΎ, Π½Π΅ Π²ΡΡ ΠΎΠ΄Ρ ΠΈΠ· Π΄ΠΎΠΌΠ°. ΠΠΈΠ²ΠΎΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΠΎ ΡΡΠ΅Π΄ΠΈ ΠΈΠ³ΡΠΎΠΊΠΎΠ², ΠΊΠΎΡΠΎΡΡΠ΅ Ρ ΠΎΡΡΡ ΠΈΡΠΏΡΡΠ°ΡΡ Π°ΡΠΌΠΎΡΡΠ΅ΡΡ ΡΠ΅Π°Π»ΡΠ½ΠΎΠΉ ΠΈΠ³ΡΡ.
3. **Π£Π΄ΠΎΠ±ΡΡΠ²ΠΎ ΠΈ Π΄ΠΎΡΡΡΠΏΠ½ΠΎΡΡΡ**
ΠΠ³ΡΠ°ΡΡ Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΌΠΎΠΆΠ½ΠΎ Π² Π»ΡΠ±ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ ΠΈ Ρ Π»ΡΠ±ΠΎΠ³ΠΎ ΡΡΡΡΠΎΠΉΡΡΠ²Π° β ΠΊΠΎΠΌΠΏΡΡΡΠ΅ΡΠ°, ΡΠΌΠ°ΡΡΡΠΎΠ½Π° ΠΈΠ»ΠΈ ΠΏΠ»Π°Π½ΡΠ΅ΡΠ°. ΠΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²ΠΎ ΠΏΠ»Π°ΡΡΠΎΡΠΌ ΠΈΠΌΠ΅ΡΡ Π°Π΄Π°ΠΏΡΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΌΠΎΠ±ΠΈΠ»ΡΠ½ΡΠ΅ Π²Π΅ΡΡΠΈΠΈ, Π° ΡΠ°ΠΊΠΆΠ΅ ΡΠΏΠ΅ΡΠΈΠ°Π»ΡΠ½ΡΠ΅ ΠΏΡΠΈΠ»ΠΎΠΆΠ΅Π½ΠΈΡ, ΠΏΠΎΠ·Π²ΠΎΠ»ΡΡΡΠΈΠ΅ Π½Π°ΡΠ»Π°ΠΆΠ΄Π°ΡΡΡΡ ΠΈΠ³ΡΠΎΠΉ Π½Π° Ρ ΠΎΠ΄Ρ.
4. **Π’Π΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΡ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ ΠΈ ΡΠ΅ΡΡΠ½ΠΎΡΡΡ ΠΈΠ³Ρ**
ΠΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡ ΡΠΈΡΡΠΎΠ²Π°Π½ΠΈΠ΅ Π΄Π°Π½Π½ΡΡ ΠΈ ΡΠ΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΠΈ Π·Π°ΡΠΈΡΡ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΈ Π΄Π»Ρ ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠ΅Π½ΠΈΡ ΠΊΠΎΠ½ΡΠΈΠ΄Π΅Π½ΡΠΈΠ°Π»ΡΠ½ΠΎΡΡΠΈ ΠΈ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ ΠΈΠ³ΡΠΎΠΊΠΎΠ². ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, ΠΊΠ°ΠΆΠ΄Π°Ρ ΠΈΠ³ΡΠ° ΠΎΡΠ½ΠΎΠ²Π°Π½Π° Π½Π° Π³Π΅Π½Π΅ΡΠ°ΡΠΎΡΠ΅ ΡΠ»ΡΡΠ°ΠΉΠ½ΡΡ ΡΠΈΡΠ΅Π», ΡΡΠΎ Π³Π°ΡΠ°Π½ΡΠΈΡΡΠ΅Ρ ΡΠ΅ΡΡΠ½ΡΠΉ ΡΠ΅Π·ΡΠ»ΡΡΠ°Ρ ΠΈ ΠΈΡΠΊΠ»ΡΡΠ°Π΅Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΌΠΎΡΠ΅Π½Π½ΠΈΡΠ΅ΡΡΠ²Π°.
5. **ΠΠΎΠ½ΡΡΡ ΠΈ Π°ΠΊΡΠΈΠΈ**
Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΡ ΠΈΠ³ΡΠΎΠΊΠΎΠ² ΠΌΠ½ΠΎΠ³ΠΎΡΠΈΡΠ»Π΅Π½Π½ΡΠΌΠΈ Π±ΠΎΠ½ΡΡΠ°ΠΌΠΈ: ΠΏΡΠΈΠ²Π΅ΡΡΡΠ²Π΅Π½Π½ΡΠ΅ Π±ΠΎΠ½ΡΡΡ, Π±Π΅ΡΠΏΠ»Π°ΡΠ½ΡΠ΅ Π²ΡΠ°ΡΠ΅Π½ΠΈΡ, ΠΊΡΡΠ±ΡΠΊ ΠΈ ΠΏΡΠΎΠ³ΡΠ°ΠΌΠΌΡ Π»ΠΎΡΠ»ΡΠ½ΠΎΡΡΠΈ. ΠΡΠΎ ΠΌΠΎΡΠΈΠ²ΠΈΡΡΠ΅Ρ Π½ΠΎΠ²ΡΡ ΠΈΠ³ΡΠΎΠΊΠΎΠ² ΡΠ΅Π³ΠΈΡΡΡΠΈΡΠΎΠ²Π°ΡΡΡΡ, Π° ΠΏΠΎΡΡΠΎΡΠ½Π½ΡΡ β Π²ΠΎΠ·Π²ΡΠ°ΡΠ°ΡΡΡΡ ΡΠ½ΠΎΠ²Π° ΠΈ ΡΠ½ΠΎΠ²Π°.
6. **ΠΠ½ΡΠ΅Π³ΡΠ°ΡΠΈΡ Ρ ΠΊΡΠΈΠΏΡΠΎΠ²Π°Π»ΡΡΠ°ΠΌΠΈ**
ΠΠ½ΠΎΠ³ΠΈΠ΅ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΡ ΠΊΡΠΈΠΏΡΠΎΠ²Π°Π»ΡΡΡ, ΡΡΠΎ Π·Π½Π°ΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΠΏΡΠΎΡΠ°Π΅Ρ ΠΏΡΠΎΡΠ΅ΡΡ ΠΏΠΎΠΏΠΎΠ»Π½Π΅Π½ΠΈΡ ΠΈ ΡΠ½ΡΡΠΈΡ ΡΡΠ΅Π΄ΡΡΠ². ΠΡΠΎ ΡΠ°ΠΊΠΆΠ΅ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΠΈΠ· ΡΠ°Π·Π½ΡΡ ΡΡΡΠ°Π½ Π½Π΅ Π±Π΅ΡΠΏΠΎΠΊΠΎΠΈΡΡΡΡ ΠΎ ΠΊΠΎΠ½Π²Π΅ΡΡΠ°ΡΠΈΠΈ Π²Π°Π»ΡΡ ΠΈ ΠΌΠ΅ΠΆΠ΄ΡΠ½Π°ΡΠΎΠ΄Π½ΡΡ ΠΏΠ΅ΡΠ΅Π²ΠΎΠ΄Π°Ρ .
### ΠΡΠ΅ΠΈΠΌΡΡΠ΅ΡΡΠ²Π° ΠΈΠ³ΡΡ Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ
– **ΠΠΎΡΡΡΠΏΠ½ΠΎΡΡΡ ΠΈ ΠΊΠΎΠΌΡΠΎΡΡ:** ΠΈΠ³ΡΠ° Π΄ΠΎΡΡΡΠΏΠ½Π° ΠΊΡΡΠ³Π»ΠΎΡΡΡΠΎΡΠ½ΠΎ, ΠΈ ΠΌΠΎΠΆΠ½ΠΎ ΠΈΠ³ΡΠ°ΡΡ ΠΈΠ· Π»ΡΠ±ΠΎΠΉ ΡΠΎΡΠΊΠΈ ΠΌΠΈΡΠ°.
– **Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΈΠ³Ρ:** Π½ΠΈ ΠΎΠ΄Π½ΠΎ Π½Π°Π·Π΅ΠΌΠ½ΠΎΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ Π½Π΅ ΠΌΠΎΠΆΠ΅Ρ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠΈΡΡ ΡΠ°ΠΊΠΎΠΉ ΡΠΈΡΠΎΠΊΠΈΠΉ Π²ΡΠ±ΠΎΡ.
– **ΠΠ΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΡ:** Π»ΠΈΡΠ΅Π½Π·ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΠ»Π΅Π΄ΡΡ Π·Π° Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΡΡ ΠΈ ΡΠΎΠ±Π»ΡΠ΄Π°ΡΡ ΡΠ΅ΡΡΠ½ΡΠ΅ ΠΏΡΠ°Π²ΠΈΠ»Π°.
– **ΠΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΈΠ³ΡΠ°ΡΡ Π±Π΅ΡΠΏΠ»Π°ΡΠ½ΠΎ:** ΠΌΠ½ΠΎΠ³ΠΈΠ΅ ΠΏΠ»Π°ΡΡΠΎΡΠΌΡ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΡΡ ΠΏΡΠΎΠ±ΠΎΠ²Π°ΡΡ ΠΈΠ³ΡΡ Π±Π΅ΡΠΏΠ»Π°ΡΠ½ΠΎ, ΡΡΠΎ Π΄Π°Π΅Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ Π½ΠΎΠ²ΠΈΡΠΊΠ°ΠΌ ΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΡΡΡΡ Ρ ΠΏΡΠΎΡΠ΅ΡΡΠΎΠΌ Π±Π΅Π· ΡΠΈΠ½Π°Π½ΡΠΎΠ²ΡΡ ΡΠΈΡΠΊΠΎΠ².
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ΠΠ°Π»ΠΈΡΡΠ° ΠΠ°Π·ΠΈΠ½ΠΎ: Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅ ΠΎΠΏΡΡΠ° ΠΈ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ
Π ΠΌΠΈΡΠ΅ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ ΠΊΠ°Π·ΠΈΠ½ΠΎ Π·Π°Π½ΠΈΠΌΠ°ΡΡ ΠΎΡΠΎΠ±ΠΎΠ΅ ΠΌΠ΅ΡΡΠΎ. ΠΠ΄Π½ΠΈΠΌ ΠΈΠ· Π½Π°ΠΈΠ±ΠΎΠ»Π΅Π΅ ΡΡΡΠ°ΠΉΡΠΈΡ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΡΠ΅Π»Π΅ΠΉ ΡΡΠΎΠΉ ΡΡΠ΅ΡΡ ΡΠ²Π»ΡΡΡΡΡ ΠΎΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ, ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡΠΈΠ΅ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠΈ Π΄Π»Ρ Π²Π΅ΡΠ΅Π»ΡΡ ΠΈ Π²ΡΠΈΠ³ΡΡΡΠ°. Π‘ΡΠ΅Π΄ΠΈ ΠΈΡ Π²ΡΠ΄Π΅Π»ΡΠ΅ΡΡΡ ΠΏΠΎΠ½ΡΡΠΈΠ΅ “Π³Π°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ”, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ Π² ΡΠ΅Π±Π΅ ΠΎΠ±ΠΈΠ»ΠΈΠ΅ ΠΈΠ³ΡΠΎΠ²ΡΡ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ, ΠΏΠ»Π°ΡΡΠΎΡΠΌ ΠΈ ΡΡΠ»ΡΠ³. Π ΡΡΠΎΠΉ ΡΡΠ°ΡΡΠ΅ Π±ΡΠ΄ΡΡ ΡΠ°ΡΡΠΌΠΎΡΡΠ΅Π½Ρ Π³Π»Π°Π²Π½ΡΠ΅ Π½ΡΠ°Π½ΡΡ ΠΈ Π΄ΠΎΡΡΠΎΠΈΠ½ΡΡΠ²Π° ΠΏΠ°Π»ΠΈΡΡΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ.
Π§ΡΠΎ Π΅ΡΡΡ Π³Π°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ?
ΠΠ°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΡΠΎ ΠΎΠ±ΠΈΠ»ΠΈΠ΅ ΠΈΠ³Ρ ΠΈ ΡΡΠ»ΡΠ³, ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅ΠΌΡΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ, ΠΊΠΎΡΠΎΡΠΎΠ΅ ΠΌΠΎΠΆΠ΅Ρ Π²ΠΊΠ»ΡΡΠ°ΡΡ Π² ΡΠ΅Π±Ρ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΠ΅ Π½Π°ΡΡΠΎΠ»ΡΠ½ΡΠ΅ Π·Π°Π±Π°Π²Ρ, Π°Π²ΡΠΎΠΌΠ°ΡΡ, ΠΏΠΎΠΊΠ΅Ρ, Π±ΡΠΊΠΌΠ΅ΠΊΠ΅ΡΡΠΊΠΈΠ΅ ΡΡΠ»ΡΠ³ΠΈ ΠΈ Π±ΠΎΠ»Π΅Π΅. ΠΠ»Π°Π²Π½ΠΎ ΠΎΡΠΌΠ΅ΡΠΈΡΡ, ΡΡΠΎ ΠΏΠ°Π»ΠΈΡΡΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΌΠΎΠΆΠ΅Ρ Π²Π°ΡΡΠΈΡΠΎΠ²Π°ΡΡΡΡ ΠΎΡ ΠΎΠ΄Π½ΠΎΠ³ΠΎ ΠΎΠΏΠ΅ΡΠ°ΡΠΎΡΠ° ΠΊ Π΄ΡΡΠ³ΠΎΠΌΡ, Π² Π·Π°Π²ΠΈΡΠΈΠΌΠΎΡΡΠΈ ΠΎΡ ΠΈΡ ΡΡΡΠ°ΡΠ΅Π³ΠΈΠΈ, ΡΠ΅Π»Π΅Π²ΠΎΠΉ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΈ Π΄ΠΎΡΡΡΠΏΠ½ΡΡ Π»ΠΈΡΠ΅Π½Π·ΠΈΠΉ Π½Π° ΠΈΠ³ΡΡ.
ΠΠΈΠ΄Ρ ΠΈΠ³Ρ Π² Π³Π°ΠΌΠΌΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ
1. Π‘Π»ΠΎΡΡ: ΠΠ³ΡΠ° Π½Π° Π°Π²ΡΠΎΠΌΠ°ΡΠ°Ρ ΡΠ²Π»ΡΠ΅ΡΡΡ ΠΎΠ΄Π½ΠΎΠΉ ΠΈΠ· ΡΠ°ΠΌΡΡ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΡ ΡΠΎΡΠΌ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ. Π‘ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΡΠ»ΠΎΡΡ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ ΡΠ΅ΠΌΡ, ΠΎΡΠ΅Π½Ρ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠ΅ Π±ΠΎΠ½ΡΡΠ½ΡΠ΅ ΡΡΠ½ΠΊΡΠΈΠΈ ΠΈ Π±ΠΎΠ»ΡΡΠΈΠ΅ Π΄ΠΆΠ΅ΠΊΠΏΠΎΡΡ.
2. ΠΠ°ΡΡΠΎΠ»ΡΠ½ΡΠ΅ ΠΈΠ³ΡΡ: Π’ΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΠ΅ ΠΈΠ³ΡΡ, ΡΠ°ΠΊΠΈΠ΅ ΠΊΠ°ΠΊ Π±Π»ΡΠΊΠ΄ΠΆΠ΅ΠΊ, ΡΡΠ»Π΅ΡΠΊΠ° ΠΈ Π±Π°ΠΊΠΊΠ°ΡΠ°, ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΏΡΠΎΡΠ²ΠΈΡΡ ΡΠ²ΠΎΠΈ ΡΠ°ΠΊΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ Π½Π°Π²ΡΠΊΠΈ. ΠΠ½ΠΎΠ³ΠΈΠ΅ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΊΠ°ΠΊ ΠΆΠΈΠ²Ρ, ΡΠ°ΠΊ ΠΈ Π²ΠΈΡΡΡΠ°Π»ΡΠ½ΡΠ΅ Π²Π΅ΡΡΠΈΠΈ ΡΡΠΈΡ ΠΈΠ³Ρ.
3. ΠΠΎΠΊΠ΅Ρ: ΠΡΠΎΡ Π²ΠΈΠ΄ Π°Π·Π°ΡΡΠ½ΠΎΠΉ ΠΈΠ³ΡΡ Π½Π΅ΠΏΠΎΠ΄ΡΠ°ΠΆΠ°Π΅ΠΌΠΎ ΠΈΠ·Π²Π΅ΡΡΠ΅Π½ ΠΏΠΎΡΡΠ΅Π΄ΠΈ ΠΈΠ³ΡΠΎΠΊΠΎΠ², ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΏΠΎΡΠΈΡΠ°ΡΡ ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ΅ΡΠΊΠΈΠΉ ΠΏΠΎΠ΄Ρ ΠΎΠ΄. ΠΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ Π΄Π΅Π»Π°ΡΡ ΠΎΡΠ»ΠΈΡΠ½ΠΎΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠ΅ ΡΠ°Π·Π»ΠΈΡΠ½ΡΠ΅ Π²ΠΈΠ΄Ρ ΠΏΠΎΠΊΠ΅ΡΠ°, Π²ΠΊΠ»ΡΡΠ°Ρ ΡΠ΅ΠΊΡΠ°ΡΡΠΊΠΈΠΉ Ρ ΠΎΠ»Π΄Π΅ΠΌ ΠΈ ΠΎΠΌΠ°Ρ Ρ.
4. Π‘ΠΏΠΎΡΡΠΈΠ²Π½ΡΠ΅ ΡΡΠ°Π²ΠΊΠΈ: ΠΠ΅ΠΊΠΈΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΠ°ΠΊΠΆΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΡΠ»ΡΠ³ΠΈ Π±ΠΊ, ΠΏΠΎΠ·Π²ΠΎΠ»ΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π΄Π΅Π»Π°ΡΡ ΡΡΠ°Π²ΠΊΠΈ Π½Π° ΡΠΏΠΎΡΡΠΈΠ²Π½ΡΠ΅ ΡΠΎΠ±ΡΡΠΈΡ, ΡΠ°ΠΊΠΈΠ΅ ΠΊΠ°ΠΊ ΡΡΡΠ±ΠΎΠ», Π±Π°ΡΠΊΠ΅ΡΠ±ΠΎΠ» ΠΈ ΠΏΡΠΎΡΠΈΠ΅ Π²ΠΈΠ΄Ρ ΡΠΏΠΎΡΡΠ°.
5. ΠΠΎΡΠ΅ΡΠ΅ΠΈ ΠΈ ΠΈΠ³ΡΡ Ρ ΠΆΠΈΠ²ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ: ΠΠΎΡΠ΅ΡΠ΅ΠΈ ΠΈ ΠΈΠ³ΡΡ Ρ ΠΆΠΈΠ²ΡΠΌΠΈ Π΄ΠΈΠ»Π΅ΡΠ°ΠΌΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΡΠΉ ΠΎΠΏΡΡ Ρ ΡΠ»Π΅ΠΌΠ΅Π½ΡΠΎΠΌ Π»ΡΠ΄ΡΠΊΠΎΠ³ΠΎ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΡ.
ΠΡΠ΅ΠΈΠΌΡΡΠ΅ΡΡΠ²Π° Π³Π°ΠΌΠΌΡ ΠΊΠ°Π·ΠΈΠ½ΠΎ
1. Π Π°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·ΠΈΠ΅: ΠΠ°ΠΌΠΌΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅Ρ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π²Π°ΡΠΈΠ°Π½ΡΡ ΠΈΠ³Ρ, ΡΡΠΎ Π΄Π΅Π»Π°Π΅Ρ Π°Π·Π°ΡΡΠ½ΡΠ΅ Π·Π°Π±Π°Π²Ρ Π±ΠΎΠ»Π΅Π΅ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌΠΈ ΠΈ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌΠΈ.
2. ΠΠΎΡΡΡΠΏΠ½ΠΎΡΡΡ: ΠΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ Π΄ΠΎΡΡΡΠΏΠ½Ρ gama-casino-winner.ru ΠΊΡΡΠ³Π»ΠΎΡΡΡΠΎΡΠ½ΠΎ Π²ΡΡ Π½Π΅Π΄Π΅Π»Ρ, ΡΡΠΎ Π΄Π°Π΅Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ Π½Π°ΡΠ»Π°ΠΆΠ΄Π°ΡΡΡΡ ΠΈΠ³ΡΠ°ΠΌΠΈ Π² Π»ΡΠ±ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ ΠΈ Π² Π»ΡΠ±ΠΎΠΌ ΠΌΠ΅ΡΡΠ΅.
3. ΠΡΠΈΠ·Ρ ΠΈ Π°ΠΊΡΠΈΠΈ: ΠΠ½ΠΎΠ³ΠΈΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ Π±ΠΎΠ½ΡΡΡ ΠΈ Π°ΠΊΡΠΈΠΎΠ½Π½ΡΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΡ, ΡΡΠΎ ΡΠ²Π΅Π»ΠΈΡΠΈΠ²Π°Π΅Ρ ΡΠ°Π½ΡΡ Π½Π° Π²ΡΠΈΠ³ΡΡΡ ΠΈ Π΄Π΅Π»Π°Π΅Ρ ΠΈΠ³ΡΡ Π±ΠΎΠ»Π΅Π΅ Π²ΡΠ³ΠΎΠ΄Π½ΠΎΠΉ.
4. ΠΡΡΠΎΡΠ°ΠΉΡΠ°Ρ ΡΡΠ΅ΠΏΠ΅Π½Ρ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ: ΠΠΈΡΠ΅Π½Π·ΠΈΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΠΏΠΎΡΡΠ΅Π±Π»ΡΡΡ Π²Π΅Π΄ΡΡΠΈΠ΅ ΡΠ΅Ρ Π½ΠΎΠ»ΠΎΠ³ΠΈΠΈ ΡΠΈΡΡΠΎΠ²Π°Π½ΠΈΡ Π΄Π»Ρ Π·Π°ΡΠΈΡΡ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΡΡ Π΄Π°Π½Π½ΡΡ ΠΈ ΡΠΈΠ½Π°Π½ΡΠΎΠ²ΡΡ ΡΡΠ°Π½Π·Π°ΠΊΡΠΈΠΉ ΠΈΠ³ΡΠΎΠΊΠΎΠ².
5. ΠΠ»ΠΈΠ΅Π½ΡΡΠΊΠ°Ρ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΠ°: ΠΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²ΠΎ ΠΎΠ½-Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΊΡΡΠ³Π»ΠΎΡΡΡΠΎΡΠ½ΡΡ ΡΠ΅Ρ Π½ΠΈΡΠ΅ΡΠΊΡΡ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΡ, ΡΡΠΎ Π΄Π°Π΅Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΡΡΡΠ΅ΠΌΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΠ΅ΡΠ°ΡΡ Π²ΠΎΠ·Π½ΠΈΠΊΠ°ΡΡΠΈΠ΅ ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ ΠΈ ΠΏΠΎΠ»ΡΡΠ°ΡΡ ΠΎΡΠ²Π΅ΡΡ Π½Π° Π²ΠΎΠΏΡΠΎΡΡ.
ΠΠ°ΠΊΠ»ΡΡΠ΅Π½ΠΈΠ΅
ΠΠ°Π»ΠΈΡΡΠ° ΠΊΠ°Π·ΠΈΠ½ΠΎ ΡΡΠΎ ΠΌΠ½ΠΎΠ³ΠΎΡΡΠΎΠ²Π½Π΅Π²ΡΠΉ ΠΌΠΈΡ Π°Π·Π°ΡΡΠ½ΡΡ ΠΈΠ³Ρ, ΠΊΠΎΡΠΎΡΡΠΉ Π΄Π΅Π»Π°Π΅Ρ ΠΎΡΠ»ΠΈΡΠ½ΠΎΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΠ΅ ΠΈΠ³ΡΠΎΠΊΠ°ΠΌ ΡΠΈΡΠΎΠΊΠΈΠΉ ΡΠΏΠ΅ΠΊΡΡ ΡΠΏΠΎΡΠΎΠ±Π½ΠΎΡΡΠ΅ΠΉ Π΄Π»Ρ Π²Π΅ΡΠ΅Π»ΠΈΠΉ. Π‘ΠΎΡΠ΅ΡΠ°Π½ΠΈΠ΅ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΡ ΠΈΠ³Ρ, Π΄ΠΎΡΡΡΠΏΠ½ΠΎΡΡΠΈ, Π±ΠΎΠ½ΡΡΠΎΠ² ΠΈ Π±Π΅Π·ΠΎΠΏΠ°ΡΠ½ΠΎΡΡΠΈ Π΄Π΅Π»Π°Π΅Ρ ΠΎΠ½Π»Π°ΠΉΠ½-ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΌ Π²ΡΠ±ΠΎΡΠΎΠΌ Π΄Π»Ρ Π±ΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²Π° Π»ΡΠ±ΠΈΡΠ΅Π»Π΅ΠΉ ΠΏΡΠ»Π°. ΠΠΎΠΌΠ½ΠΈΡΠ΅ ΠΎΠ± ΠΎΡΠ²Π΅ΡΡΡΠ²Π΅Π½Π½ΠΎΡΡΠΈ ΠΏΡΠΈ Π·Π°Π±Π°Π²Π΅ ΠΈ ΠΈΠ·Π±ΠΈΡΠ°ΠΉΡΠ΅ ΡΠΎΠ»ΡΠΊΠΎ ΠΈΠΌΠ΅ΡΡΠΈΠ΅ Π»ΠΈΡΠ΅Π½Π·ΠΈΡ ΠΈ ΠΈΡΠΏΡΡΠ°Π½Π½ΡΠ΅ ΠΏΠ»Π°ΡΡΠΎΡΠΌΡ Π΄Π»Ρ ΡΠ²ΠΎΠ΅ΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ. Π£Π΄Π°ΡΠΈ Π²Π°ΠΌ Π² Π²Π°ΡΠΈΡ Π°Π·Π°ΡΡΠ½ΡΡ ΠΏΡΠΈΠΊΠ»ΡΡΠ΅Π½ΠΈΡΡ !
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