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Hey everyone..! Sorry it has taken me so long to respond; I was house-sitting this weekend, and as it was the last day, I needed to tidy things up before leaving. Now that I'm at home, I can address everything that you guys have brought up :'3

First of all... @POOHEAD189; the roleplay is going to begin with the plane crash, and our characters trying to get out of the water and to shelter (the lighthouse). If I do my job correctly, and you're all happy with what I'm doing, then our characters will be able to experience the world of all three of the Bioshock games- yes, all three. I will be bringing Columbia into this roleplay as well.

Also, I'm not sure if it's just me, but I've noticed that the 50's theme is creeping into the characters that are being made; while I love it, I just want to remind you all that this roleplay is set in modern times for us, with Rapture stuck, frozen in the 50's. I have tried to explain this while answering some questions posed to me in the interest check; but in case you missed both the questions and the responses, I have collected them, and popped them into the hider below for everyone to have a look at if they want to..! :'3



I hope that bringing these across into the OOC helps in some way or another, and answers even some of your questions; though should you, or anyone, have any other questions, or are still unsure about things, please don't hesitate to ask me, I'll do my best to answer them for you. :'3

I hope this helps in some way; now... onto the CS'..! x'3

@FantasyChic; I'm really liking Daphne; she's basically the complete opposite of Isaura, which can either lead to a few very good interactions, or a few bad ones... either way, it's going to be a very interesting a bumpy ride with the dynamics they both bring to the group. I see nothing really that would need changing, or tweaking in your roleplay so... welcome aboard flight BAW229 from Los Angeles to London..! Feel free to pop her across into the character section..!

@Ulstermann; hey..! Okay, so I love the idea for your character, having a mature person in the group who understands, and has been through things like he has is an amazing premise, especially for this kind of roleplay, and I would love for him to be apart of it, however, I did notice a couple of things that made me have to stop and think. The first thing I noticed is that there is quite a bit of information missing from the CS; personality, likes, dislikes, relationship section, etc. Unfortunately I can't accept a character that doesn't have all the fields filled out. The second thing, and I'm not sure if you noticed the questions and answers when they were in the interest check, and if you didn't, that's no problem at all (plus the picture I used for my face-claim probably doesn't help), however, the way that I'm working this roleplay is that it is set in the present day- our characters are living in the same modern world that we are.

You see, with Arthur Kingsley being 43 years old, and having participated in both WW2 and the Korean War... it doesn't really work with the time setting for the roleplay... If that were the case, he would have been born around 1925 (estimate), and would be entering, if not already be in his 90s today. Truthfully, I don't know a lot about the wars that have happened around the world... that's more my dad and my little brother's thing; so I asked them about it (mostly my dad), and got their opinions and suggestions, and they helped to come up with a few really good ones.

For Arthur to be 43 years old in 2016, and still have similar experiences, he would need to be born in 1973. Now; during a time of crisis, most people are drafted into the army at 18 years old, however, a lot of people lied and manipulated their age in order to join up early, and to serve their country- Arthur could have been one of the many who did that. From 1990 to 1991, America sent forces over to Iraq, Kuwait, Saudi Arabia, and Israel, and participated in the Gulf War... not long after that ended, troops were sent into Somalia in 1992 to 1995 and to stage an intervention in the Somali Civil War. There is also the choice of the Bosnian War which went from 1994 to 1995. After both of those wars, US troops were sent to Serbia to fight in the Kosovo War lasting from 1998 through to 1999; the war only just one part of the much bigger Yugoslav Wars. It would then free him up for his retirement into the LAPD for a decade I believe, so from 2000 through to 2010, from there he could have set up shop as a PI in 2011, and been his own boss since o:

I'm not saying in any way, shape, or form that this is what you have to go with... I'm merely trying to offer up some suggestions that could prove to be helpful in some way. And besides, as I said earlier, I really love the premise of your character, and would love for him to be apart of the roleplay :'3

@Mag Lev; I like William a lot..! He's definitely going to make an interesting addition to the group, and above that, I'm rather excited to see his interactions with Poole play out once they meet in the roleplay. So with that... welcome aboard flight BAW229 from Los Angeles to London..! Feel free to pop him across into the character section..!

As for everyone else (@POOHEAD189, @Fat controller, @BlackPanther); due to the insane way this roleplay blew up, literally over night, I shall be adding another four Plasmids to the current list, bringing the total number of Characters up to ten instead of eight.

Also, as a side note; I realized that in my CS I had Sexuality and Relationship Status listed twice... I'm so sorry about that, and I have fixed that up; feel free to only list it once, in the relationship section of the CS :'3

NOW, to carry on my tradition of lightening things up after a long and rambling post on my behalf, I shall present to you guys an apology picture and hope you all like it x'3

I want to reserve the Rainbow and Grey plasmids.

I also love the images.


Haha..! No problem..! Rainbow and Grey are yours..!
As for the images, I wanted something that wasn't really going to give way to what the Plasmids were, but something that sort of represented what the liquid inside looked like before our characters inject themselves with them; I thought they looked pretty cool x'3

I have my eyes on the Pink and Cream Plasmids :)


Pink and Cream Plasmids it is..!

Would quite like to reserve the silver and light blue Plasmids? Oh and CS incoming.


You got it..! Silver and Light Blue are yours..!

Also, just so everyone is aware, in this roleplay, while the Plasmids are going to be injected into each of our characters like in the game itself, the Gene Tonics are going to be just that; tonics in small bottles that our characters can drink, they are all going to be the same color (maybe like the yellowish color of lemonade), glowing slightly, and each bottle will be labelled with what Tonic it actually is..! :'3

@Ulstermann; of course..! Welcome..! Hop on over to the main thread; I have my character's CS up in the character section for people to use as a guide to the layout :'3
Welcome to the OOC..!

For those who have already shown interest in the roleplay; when making your character, please choose two Plasmid colors for your character- the colors you choose determine the two Plasmids you end up with for the roleplay.

Colors already chosen are:

Vicier - Blue and Purple
Caits - Green and Orange
Voltus - Rainbow and Grey
Fantasy - Pink and Cream
Ulster - Silver and Light Blue
Mag - Red and Dark Grey
Panther - Light Green and Lilac
Damo - White and Teal
@Caits, @Damo021, @Voltus_Ventus, @Mag Lev, @FantasyChic; well guys... here's the link to the OOC

..welcome to Rapture...


۵ ۞ ۵


"𝐼 𝓌𝒾𝓁𝓁 𝓃𝑜𝓉 𝒹𝒾𝑒 𝓌𝒾𝓉𝒽𝑜𝓊𝓉 𝒻𝒾𝑔𝒽𝓉𝒾𝓃𝑔 𝒻𝑜𝓇 𝒶 𝓁𝒾𝒻𝑒 𝐼 𝒶𝓂 𝓃𝑜𝓉 𝓎𝑒𝓉 𝒹𝑜𝓃𝑒 𝓁𝒾𝓋𝒾𝓃𝑔."





𝒢𝑒𝓃𝑒𝓇𝒶𝓁 𝐼𝓃𝒻𝑜𝓇𝓂𝒶𝓉𝒾𝑜𝓃

۵ ۞ ۵


Name:
Isaura Reese Eldars.

Nick-Names:
Issie, Saura, Reese.

Gender:
Female.

Age:
Eighteen Years Old.

Birthday:
21st of October.

Distinguishing Features:
Though never really talking about it without first needing to be asked, Isaura has a small (however meaningful) tattoo situated just behind her right ear; the tattoo itself both chosen and done without the knowledge, or even the permission of her sister- and while she knows Seraphina wouldn't exactly understand, she plans on getting another when she feels like the time is right. Aside from this, Isaura has both her ears pierced like a majority of girls her age.





𝑅𝑒𝓁𝒶𝓉𝒾𝑜𝓃𝓈𝒽𝒾𝓅 𝐼𝓃𝒻𝑜𝓇𝓂𝒶𝓉𝒾𝑜𝓃

۵ ۞ ۵


Relationship Status:
In A Relationship.

Sexuality:
Heterosexual/ Straight.

Partner:
Theodore James Colbeck.

Father:
Rion Eldars (Deceased).

Mother:
Erani Marie Eldars (Deceased).

Siblings:
Seraphina Eldars (Older Sister).

Pets:
Isaura both owns and cares for a beautiful white cat by the name of Amayia; the cat itself given to her by her sister after they moved from Australia to America.





𝒫𝑒𝓇𝓈𝑜𝓃𝒶𝓁 𝐼𝓃𝒻𝑜𝓇𝓂𝒶𝓉𝒾𝑜𝓃

۵ ۞ ۵


Personality:
♦ Extremely Kind-Hearted ♦ Rather Stubborn ♦ Overly Helpful ♦ Shy and Modest ♦ Exceedingly Mature ♦ Slightly Guarded ♦ Quite Bubbly ♦

Considered to be an extremely kind, and gentle old soul to all those she has the pleasure of meeting, Isaura is an exceedingly sweet and charming young lady; full of both grace and kindness, the rather dreamy-eyed girl is shown to care deeply for all those she believes herself to be close to, showering her friends and family with the love and affection she believes them to be deserving of, no matter who might think otherwise. So overly curious, and just full of life, Isaura tends to find herself (more often than not) walking into some sort of trouble, much to her older sister's dismay; the bubbly teenager's recently found confidence and self-belief in herself growing significantly over the years, despite the serious losses of her past, helping her to see the friends she has made as figures that are approachable, offering them both council and comfort whenever any of them seem to need it, oftentimes spending her nights (when the times become too hard to bear, or when the pain of missing her parents becomes too much) sitting in the company of her friends or sister, causing them to worry about her throughout the daytime whenever it seems she has returned back to her normal, cheerful self without so much as a word.

Though coming off as sometimes shy at first when a situation seems to overwhelm her, Isaura does her best to carry herself with both grace and dignity though the hardship that gets thrown her way thanks to the limited time she has left on Earth; the sweet-natured girl never really shows any signs that she is willing to allow her past, or her older sister's overly protective and cautious temperament to get in the way of her living her life the way that she wants to- the young woman never seeming to have any issues with putting herself out there for others to see, and having no problems whenever it comes to being an open book, or making friends; and as the years have passed her by, Isaura quickly learnt, and began to stand up for herself against those who try to put her down.

Unafraid to berate, or to challenge people in positions of power; Isaura has, over time, managed to confide in those that she trusts so completely that she oftentimes finds it quite difficult to express what it is that she truly feels within her heart, however, the fast-thinking young woman is quick to speak up, defending not only her friends, but also those of whom she believes are being treated unfairly against anyone who goes against what she believes in her heart, whether that be friend, family, or even foe. Although a kind and graceful soul, Isaura is known for being quite stubborn whenever it comes to something that she truly believes in; always choosing to stand up for it, rather than backing down once she has already made up her mind, usually making it near impossible to convince the girl otherwise.

Extremely mature, and oddly grown-up for her age thanks to living her whole life under the influence of her older sister, Isaura oftentimes does all that she can to not be, or be considered a 'burden' to those she cares about in her life; the young woman doing everything she can and more to help out her sister (cooking, cleaning, etc.) and friends (helping with homework, advice, etc.); even going so far as to sometimes choosing to put her own needs aside in favor of others, no matter how difficult the task may seem for her- the girl trying her best at everything, and anything that she seems to set her mind to. Seen to be exceedingly beautiful to all those who meet her, Isaura (more times than none) attracts the attention of many a person who crosses paths with her; whether they meet with one another on purpose, or by pure accident- though despite her undeniably inherited beauty, Isaura is not a vain young lady; the curious young woman always seeming to surprise those she holds dear to her heart, even when they themselves believe that they know everything about her, she always seems to find new ways to both stun and amaze them.

Coming across at times as being quietly confident, and extremely calm, Isaura has shown herself to be more than capable of becoming quite aggressive whenever her friends are shown to be in danger, or in the line of fire so to say; tremendously brave and courageous whenever the situation calls for her to be, the usually dreamy and extremely loyal young woman is unafraid to fight back against those doing wrong, however, she is quite quick to try and hide her more vulnerable side... to varying levels of success. Seen to be both a kind and gentle girl, Isaura sometimes tends to pull away from the company of others, becoming quite reserved and thoughtful, choosing instead to lose herself within her own mind, and oftentimes, in her own little world.

Unnaturally bright, and rather unique in her own way, Isaura has quite the aptitude for thinking outside of the box on general occasion; always seeming to come up with strange ideas that would otherwise be considered to be strange and impossible, however even with that, the young woman is always doing her best to stay positive... always going by the philosophy that you need to fight for the life that you want to live.

Likes:
✔ Animals of all kinds.
✔ Cuddling with her friends, and others she cares about.
✔ Hot chocolates and marshmallows.
✔ Strawberries and pomegranates.
✔ Music; especially singing and playing the piano.
✔ Travelling and the ocean.
✔ Reading (Fantasy mostly).
✔ Living the rest of her life to the fullest.

Dislikes:
✘ Not having her parents around.
✘ Being left completely alone.
✘ Being treated differently.
✘ People who underestimate or look down on her.
✘ Having to say goodbye to those she loves.
✘ Bullies, and people who abuse others.
✘ Being told what she can and can't do.

Biography:
Born the second child to her parents, Isaura was quickly pulled into, and raised with a deep respect towards both her homeland and heritage; the young girl both loved and cherished within her families home. Soon growing into a charming young girl, becoming more and more outgoing with each day that passed her by; Isaura's life was turned upside-down and brought to a complete standstill when she lost both of her parents in a tragic car accident.

Knowing full well that they both needed a fresh start, Seraphina gathered up Isaura and eventually, the both of them left Australia. Refusing to be separated from little sister after all that they had been through, Seraphina took on several jobs, gathering the money that the both of them needed and began to after, and raise Isaura in the way that their parents raised her. Years later, and now living as comfortably and as normal a life as she can given her circumstances, Isaura does all that she can to deal with the obstacles that life seems intent on throwing her way; the young woman determined to do all that she can to make sure that her older sister's hard work never goes to waste... even though she knows that the day she'll need to move on with her life, and say goodbye is coming.





𝒫𝓁𝒶𝓈𝓂𝒾𝒹 𝐼𝓃𝒻𝑜𝓇𝓂𝒶𝓉𝒾𝑜𝓃

۵ ۞ ۵


Plasmid One:
Name Of Plasmid: Unknown.
Color Of Plasmid: Blue.



Powers And Attributes: Unknown.

Plasmid Two:
Name Of Plasmid: Unknown.
Color Of Plasmid: Purple.



Powers And Attributes: Unknown.





𝒟𝑒𝓉𝒶𝒾𝓁𝑒𝒹 𝑅𝑒𝓁𝒶𝓉𝒾𝑜𝓃𝓈𝒽𝒾𝓅 𝐼𝓃𝒻𝑜𝓇𝓂𝒶𝓉𝒾𝑜𝓃

۵ ۞ ۵


Relationships Between Friends:
۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.


۞ Name of friend here ۞
"𝒮𝓂𝒶𝓁𝓁 𝓉𝒽𝑜𝓊𝑔𝒽𝓉 𝒶𝒷𝑜𝓊𝓉 𝒻𝓇𝒾𝑒𝓃𝒹 𝒽𝑒𝓇𝑒."

۵ A little more in depth relationship. This will change as the roleplay goes on. People can become closer, farther apart. Even romance can blossom. It's all up to you.








"I ᑕᕼOSᕮ Tᕼᕮ IᗰᑭOSSIᗷᒪᕮ. I ᑕᕼOSᕮ... ᖇᗩᑭTᑌᖇᕮ."






ᑕᑌᖇᖇᕮᑎT ᑕᕼᗩᖇᗩᑕTᕮᖇS:

ISᗩᑌᖇᗩ ᖇᕮᕮSᕮ ᕮᒪᗪᗩᖇS
TᕼᕮOᗪOᖇᕮ ᒍᗩᗰᕮS ᑕOᒪᗷᕮᑕK
ᐯᗩᒪᕮᑎ ᗪOᗰIᑎIᑕ ᕼᕮᑎᗪᕮᖇSOᑎ
ᗰᗩᖇTIᑎ ᒪOᗯᖇY
ᖇᕼᕮTT ᗷᕮᑕKᕮTT
ᑎᗩᗪIᗩ ᖇᕮYᕮS
ᒪᗩᐯᕮᑎᗩ KᕮᕮᒪIᗩ Ó ᖴᗩOᒪᗩIᑎ
?
?
?

ᕮᗩᑕᕼ ᑕᕼᗩᖇᗩᑕTᕮᖇ IS ᒪIᑎKᕮᗪ TO TᕼᕮIᖇ ᖇᕮSᑭᕮᑕTIᐯᕮ ᑕS'; ᗩᑎᗪ TᕼᕮᖇᕮᖴOᖇᕮ IS ᗩᗷᒪᕮ TO ᗷᕮ ᒪOOKᕮᗪ ᗩT, ᗩᑎᗪ ᕮ᙭ᑭᒪOᖇᕮᗪ ᗩT YOᑌᖇ Oᗯᑎ ᒪᕮISᑌᖇᕮ.


IᑎTᕮᖇᕮSTᕮᗪ Iᑎ ᒍOIᑎIᑎG..?
ᗰᕮSSᗩGᕮ ᗰᕮ Oᖇ Oᑎᕮ Oᖴ ᗰY ᑕO-Gᗰ'S..!

Gᗰ = ᐯIᑕIᕮᖇ.
ᑕO-Gᗰ = ᑕᗩITS.





"ᗩ ᗰᗩᑎ ᑕᕼOOSᕮS, ᗩ Sᒪᗩᐯᕮ OᗷᕮYS."








⥼ ⥽


“I ᗩᗰ ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ... ᗩᑎᗪ I'ᗰ ᕼᕮᖇᕮ TO ᗩSK YOᑌ ᗩ ᑫᑌᕮSTIOᑎ.

IS ᗩ ᗰᗩᑎ ᑎOT ᕮᑎTITᒪᕮᗪ TO Tᕼᕮ SᗯᕮᗩT Oᖴ ᕼIS ᗷᖇOᗯ..? 'ᑎO!' SᗩYS Tᕼᕮ ᗰᗩᑎ Iᑎ ᗯᗩSᕼIᑎGTOᑎ, 'IT ᗷᕮᒪOᑎGS TO Tᕼᕮ ᑭOOᖇ'. 'ᑎO!' SᗩYS Tᕼᕮ ᗰᗩᑎ Iᑎ Tᕼᕮ ᐯᗩTIᑕᗩᑎ, 'IT ᗷᕮᒪOᑎGS TO GOᗪ'. 'ᑎO!' SᗩYS Tᕼᕮ ᗰᗩᑎ Iᑎ ᗰOSᑕOᗯ, 'IT ᗷᕮᒪOᑎGS TO ᕮᐯᕮᖇYOᑎᕮ'. I ᖇᕮᒍᕮᑕTᕮᗪ TᕼOSᕮ ᗩᑎSᗯᕮᖇS; IᑎSTᕮᗩᗪ, I ᑕᕼOSᕮ SOᗰᕮTᕼIᑎG ᗪIᖴᖴᕮᖇᕮᑎT- I ᑕᕼOSᕮ Tᕼᕮ IᗰᑭOSSIᗷᒪᕮ.

I ᑕᕼOSᕮ... ᖇᗩᑭTᑌᖇᕮ.

ᗩ ᑕITY ᗯᕼᕮᖇᕮ Tᕼᕮ ᗩᖇTIST ᗯOᑌᒪᗪ ᑎOT ᖴᕮᗩᖇ Tᕼᕮ ᑕᕮᑎSOᖇ... ᗯᕼᕮᖇᕮ Tᕼᕮ SᑕIᕮᑎTIST ᗯOᑌᒪᗪ ᑎOT ᗷᕮ ᗷOᑌᑎᗪ ᗷY ᑭᕮTTY ᗰOᖇᗩᒪITY- ᗯᕼᕮᖇᕮ Tᕼᕮ GᖇᕮᗩT ᗯOᑌᒪᗪ ᑎOT ᗷᕮ ᑕOᑎSTᖇᗩIᑎᕮᗪ ᗷY Tᕼᕮ Sᗰᗩᒪᒪ..! ᗩᑎᗪ ᗯITᕼ Tᕼᕮ SᗯᕮᗩT Oᖴ YOᑌᖇ ᗷᖇOᗯ; ᖇᗩᑭTᑌᖇᕮ ᑕᗩᑎ ᗷᕮᑕOᗰᕮ YOᑌᖇ ᑕITY ᗩS ᗯᕮᒪᒪ.”


⁓ ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ; ᑕᖇᕮᗩTOᖇ Oᖴ ᖇᗩᑭTᑌᖇᕮ.





⥼ IᑎᖴOᖇᗰᗩTIOᑎ ᗩᗷOᑌT ᖇᗩᑭTᑌᖇᕮ ⥽

ᗩ ᗰᗩSS ᑌᑎᗪᕮᖇᗯᗩTᕮᖇ ᑕITY; ᖇᗩᑭTᑌᖇᕮ (ᗩᒪSO KᑎOᗯᑎ ᗩS Tᕼᕮ "ᑎOᖇTᕼ ᗩTᒪᗩᑎTIᑕ ᑭᖇOᒍᕮᑕT" Oᖇ "Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕOᒪOᑎY") ᗯᗩS ᖴOᖇGᕮᗪ TᕼᖇOᑌGᕼ Tᕼᕮ ᑭᕮᖇSOᑎᗩᒪ ᗪᖇᕮᗩᗰS Oᖴ ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ Iᑎ Oᖇᗪᕮᖇ TO ᑕᖇᕮᗩTᕮ ᗩ STᖇOᑎG ᗩᑎᗪ ᗷᕮᗩᑌTIᖴᑌᒪ ᑕᗩᑭITᗩᒪIST SOᑕIᕮTY ᖴᖇᕮᕮ Oᖴ ᗩᒪᒪ ᖇᕮᒪIGIOᑌS ᗩᑎᗪ GOᐯᕮᖇᑎᗰᕮᑎT IᑎTᕮᖇᖴᕮᖇᕮᑎᑕᕮ, ᗩᗯᗩY ᖴᖇOᗰ Tᕼᕮ ᑭOST-ᗯᗩᖇ ᗩᑎ᙭IᕮTIᕮS Oᖴ ᗯOᖇᒪᗪ ᗯᗩᖇ II- ᗩ ᑭᒪᗩᑕᕮ ᗯᕼᕮᖇᕮ ᗩᑎY ᑕITIᘔᕮᑎ ᑕOᑌᒪᗪ ᗩᑕᕼIᕮᐯᕮ ᖴOᖇ ᕼIS Oᖇ ᕼᕮᖇ Oᗯᑎ ᑭᕮᖇSOᑎᗩᒪ GᗩIᑎ, ᖇᗩTᕼᕮᖇ Tᕼᗩᑎ ᒍᑌST ᖴOᖇ Tᕼᕮ ᗩᒪTᑌᖇISTIᑕ ᖴᑌᒪᖴIᒪᒪᗰᕮᑎT Oᖴ Tᕼᕮ ᗯᗩᑎTS Oᖴ OTᕼᕮᖇS. ᕮSTᗩᗷᒪISᕼᕮᗪ Oᑎ Tᕼᕮ 5Tᕼ Oᖴ ᑎOᐯᕮᗰᗷᕮᖇ, 1946; ᖇᗩᑭTᑌᖇᕮ ᗯᗩS ᗩ ᑭᒪᗩᑕᕮ ᗯᕼᕮᖇᕮ Tᕼᕮ ᗯOᖇᒪᗪS ᗷᕮST ᗩᑎᗪ ᗷᖇIGᕼTᕮST ᗯOᑌᒪᗪ ᗷᕮ GᖇᗩᑎTᕮᗪ ᗷOTᕼ ᖴᖇᕮᕮᗪOᗰ Oᖴ ᗯIᒪᒪ, ᗩᑎᗪ Oᖴ ᑕᕼOIᑕᕮ, ᗩᑎᗪ IᑎSTᕮᗩᗪ Oᖴ ᗩᗷIᗪIᑎG ᗷY Tᕼᕮ TᖇᗩᗪITIOᑎS ᗩᑎᗪ Tᕼᕮ ᗰOᖇᗩᒪ SYSTᕮᗰS IᗰᑭOSᕮᗪ ᗷY Tᕼᕮ GOᐯᕮᖇᑎᗰᕮᑎT, ᖇᕮᒪIGIOᑌS ᗩᑎᗪ OTᕼᕮᖇ IᑎSTITᑌTIOᑎS, ᐯᗩᒪᑌᕮS Sᑌᑕᕼ ᗩS ᒪOGIᑕ ᗩᑎᗪ SᑕIᕮᑎTIᖴIᑕ ᖇᕮᗩSOᑎ ᗯᕮᖇᕮ TO GᑌIᗪᕮ Tᕼᕮ IᑎᕼᗩᗷITᗩᑎTS Iᑎ TᕼᕮIᖇ ᑭᑌᖇSᑌIT Oᖴ ᗩᑕᕼIᕮᐯᕮᗰᕮᑎT ᗩᑎᗪ ᑭᖇOGᖇᕮSS.

TᕼIS ᗯOᑌᒪᗪ-ᗷᕮ ᑌTOᑭIᗩ, ᕼOᗯᕮᐯᕮᖇ, ᕼᗩᗪ ITS ᖴᒪᗩᗯS.

ᗯITᕼIᑎ ᖇᗩᑭTᑌᖇᕮ'S ᑭᑌᖇᕮᒪY ᑕᗩᑭITᗩᒪISTIᑕ SOᑕIᕮTY, Tᕼᕮᖇᕮ ᗯᕮᖇᕮ ᑎO ᑭᑌᗷᒪIᑕᒪY ᖴᑌᑎᗪᕮᗪ SOᑕIᗩᒪ ᑭᖇOGᖇᗩᗰS, ᕮᐯᕮᖇYTᕼIᑎG ᗯITᕼIᑎ Tᕼᕮ ᑕITY ᗯᗩS ᑭᖇIᐯᗩTᕮᒪY Oᗯᑎᕮᗪ ᗩᑎᗪ ᖇᑌᑎ, IᑎᑕᒪᑌᗪIᑎG Tᕼᕮ ᑕITIᕮS ᖴOOᗪ SᑌᑭᑭᒪY, ᕼᕮᗩᒪTᕼ ᑕᗩᖇᕮ, SᗩᑎITᗩTIOᑎ, ᕮᐯᕮᑎ Tᕼᕮ O᙭YGᕮᑎ SᑌᑭᑭᒪY; ᗷOTᕼ Tᕼᕮ ᑭOᒪIᑕᕮ ᗩᑎᗪ ᖴIᖇᕮ ᗪᕮᑭᗩᖇTᗰᕮᑎTS ᗯᕮᖇᕮ SᑌᗷSᑕᖇIᑭTIOᑎ-ᗷᗩSᕮᗪ, ᑭᖇIᐯᗩTᕮᒪY Oᗯᑎᕮᗪ ᑕOᗰᑭᗩᑎIᕮS (ᑭOᑭᑭᗩᗪOᑭOᒪIS ᑭOᒪIᑕᕮ ᗪᕮᑭᗩᖇTᗰᕮᑎT ᗩᑎᗪ ᖴOᑎTᗩIᑎᕮ ᖴIᖇᕮ ᖴIGᕼTᕮᖇS)- Tᕼᕮᖇᕮ ᗯᕮᖇᕮ ᒪᕮSS ᖇᕮSTᖇIᑕTᕮᗪ ᑎOᖇᗰS ᖴOᖇ ᗷᑌSIᑎᕮSSᕮS ᗩᑎᗪ ᒪᗩᗷOᖇ, OᑭᕮᑎᒪY ᗩᒪᒪOᗯIᑎG ᑌᑎSᑕᖇᑌᑭᑌᒪOᑌS ᗷᑌSIᑎᕮSS ᑭᖇᗩᑕTIᑕᕮS, ᗯITᕼ ᑕOᗰᑭᕮTITIOᑎ ᗩᑎᗪ ᑕᑌSTOᗰᕮᖇ'S ᑕᕼOIᑕᕮ ᗷᗩᒪᗩᑎᑕIᑎG OᑌT Tᕼᕮ ᗰᗩᖇKᕮT.

ᗷᑌT ᗯITᕼ TᕼᗩT, ᑕᗩᗰᕮ ᗩ ᑭᖇIᑕᕮ...

TᕼIS SYSTᕮᗰ ᑫᑌIᑕKᒪY ᗩᒪIᕮᑎᗩTᕮᗪ ᖇᗩᑭTᑌᖇᕮ'S ᒪᕮSS ᖴOᖇTᑌᑎᗩTᕮ ᑕITIᘔᕮᑎS, ᗯᕼO ᗯᕼᕮᑎ ᕼᗩᖇᗪ TIᗰᕮS ᑕᗩᗰᕮ, ᗷᕮGᗩᑎ TO ᖇᕮSᕮᑎT ᖇYᗩᑎ'S SOᑕIᕮTY ᗩS ᗷOTᕼ ᑕOᒪᗪ-ᕼᕮᗩᖇTᕮᗪ ᗩᑎᗪ ᕮᒪITIST. ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ'S ᕼOSTIᒪITY ᗩᑎᗪ ᑭᗩᖇᗩᑎOIᗩ Oᖴ Tᕼᕮ "ᑭᗩᖇᗩSITᕮS", ᗩᑎᗪ OTᕼᕮᖇS ᕮ᙭ᑭᒪOITIᑎG ᖇᗩᑭTᑌᖇᕮ'S ᖴᖇᕮᕮᗪOᗰS TO SᕮIᘔᕮ ᑭOᗯᕮᖇ ᕮᐯᕮᑎTᑌᗩᒪᒪY ᖇᕮSᑌᒪTᕮᗪ Iᑎ ᑎOT OᑎᒪY ᖇYᗩᑎ'S ᗪOᗯᑎᖴᗩᒪᒪ, ᗷᑌT ᗩᒪSO TᕼᗩT Oᖴ ᕼIS ᑕITY- ᖇYᗩᑎ ISSᑌᕮᗪ ᗩᑎ ᕮᗪIᑕT, ᑕᑌTTIᑎG ᗩᒪᒪ ᑕOᑎTᗩᑕT ᗯITᕼ Tᕼᕮ OᑌTSIᗪᕮ ᗯOᖇᒪᗪ ᗯᕼIᑕᕼ ᗯᗩS Iᑎ Tᕼᕮ ᗰIᗪST Oᖴ Tᕼᕮ ᑕOᒪᗪ ᗯᗩᖇ, ᗪOIᑎG ᕮᐯᕮᖇYTᕼIᑎG ᖇᕮᑫᑌIᖇᕮᗪ ᖴOᖇ Tᕼᕮ ᑕITIᕮS SᗩᖴᕮTY ᗷY KᕮᕮᑭIᑎG ᖇᗩᑭTᑌᖇᕮ'S ᕮ᙭ISTᕮᑎᑕᕮ SᕮᑕᖇᕮT... TᕼIS ᕮᑎᗩᗷᒪᕮᗪ ᗩ ᗰᗩᑎ ᗷY Tᕼᕮ ᑎᗩᗰᕮ Oᖴ ᖴᖇᗩᑎK ᖴOᑎTᗩIᑎᕮ TO ᗷᑌIᒪᗪ ᗩ ᑕᖇIᗰIᑎᗩᒪ ᕮᗰᑭIᖇᕮ TᕼᖇOᑌGᕼ SᗰᑌGGᒪIᑎG, ᗩᑎᗪ TO Tᕼᕮᑎ ᑕᖇᕮᗩTᕮ, ᗩᑎᗪ ᖇᑌᑎ Tᕼᕮ SOᑕIᕮTY-TᖇᗩᑎSᖴOᖇᗰIᑎG ᗩᗪᗩᗰ IᑎᗪᑌSTᖇY. TᕼOᑌGᕼ ᑌᑎᒪIKᕮ Tᕼᕮ ᑕᗩᑭITᗩᒪISTIᑕ ᖇYᗩᑎ, Tᕼᕮ ᗰOᗷSTᕮᖇ ᑕOᑌᒪᗪ ᑎOT ᗷᕮ SᗩTISᖴIᕮᗪ ᗷY TᕼIᑎGS Sᑌᑕᕼ ᗩS ᗰᕮᖇᕮ ᗰᗩTᕮᖇIᗩᒪ ᗯᕮᗩᒪTᕼ— ᕼᕮ ᗯᗩᑎTᕮᗪ ᗰOᖇᕮ... ᕼᕮ ᗯᗩᑎTᕮᗪ ᖇᗩᑭTᑌᖇᕮ TO ᗷᕮ ᕼIS TO ᑕOᑎTᖇOᒪ ᑕOᗰᑭᒪᕮTᕮᒪY.

IT ᗯᗩS ᗪᑌᖇIᑎG TᕼIS TIᗰᕮ TᕼᗩT ᗩ ᑎᕮᗯ ᑎᗩᗰᕮ ᗩᖇOSᕮ... ᗩᑎᗪ ᗯᕼᕮᑎ ᗩ ᗰᗩᑎ ᗷY Tᕼᕮ ᑎᗩᗰᕮ Oᖴ ᗩTᒪᗩS ᗯOᑌᒪᗪ Tᕼᕮᑎ GO Oᑎ TO STᗩᖇT ᗩ ᑕIᐯIᒪ ᗯᗩᖇ ᗯITᕼIᑎ Tᕼᕮ ᑕITY ᕮᐯᕮᑎTᑌᗩᒪᒪY ᒪᕮᗩᗪIᑎG ᖇᗩᑭTᑌᖇᕮ TO ᖇᑌIᑎ ᑌᑎᗪᕮᖇ Tᕼᕮ ᗩᗪᗪIᑕTIOᑎ Oᖴ ᗩᗪᗩᗰ.




ᑭᒪᕮᗩSᕮ ᑎOTᕮ: ᒪOᑕᗩTᕮᗪ ᗩT 63° 2' ᑎ, 29° 55' ᗯ; ᖇᗩᑭTᑌᖇᕮ IS ᑭᒪᗩᑕᕮᗪ ᗩT ᗩᗷOᑌT 433 KIᒪOᗰᕮTᕮᖇS ᗯᕮST Oᖴ Iᑕᕮᒪᗩᑎᗪ'S ᑕᗩᑭITᗩᒪ, ᖇᕮYKᒍᗩᐯIK.

⥼ ᑕOᑎSTᖇᑌᑕTIOᑎ & ᑭᒪᗩᑕᕮS Oᖴ IᑎTᕮᖇᕮST ⥽

ᑕOᗰᗰᕮᑎᑕIᑎG ᒪᗩTᕮ Iᑎ Tᕼᕮ Yᕮᗩᖇ 1945, ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ ᑕOᑎTᖇᗩᑕTᕮᗪ ᗩ ᒪᗩᖇGᕮ SᕮᖇIᕮS Oᖴ ᑕOᗰᑭᗩᑎIᕮS Iᑎ Oᖇᗪᕮᖇ TO ᗷᕮGIᑎ ᑕOᑎSTᖇᑌᑕTIOᑎ Oᖴ ᖇᗩᑭTᑌᖇᕮ; ᖇYᗩᑎ, ᗩᒪOᑎG ᗯITᕼ ᕼIS ᗩSSOᑕIᗩTᕮS, ᕼᗩᑭᑭᕮᑎᕮᗪ TO Sᕮᑕᑌᖇᕮ Tᕼᕮ ᗰᗩᑎᑌᖴᗩᑕTᑌᖇIᑎG ᗰᗩTᕮᖇIᗩᒪS Iᑎ SᕮᑕᖇᕮT SO ᗩS TO ᗩᐯOIᗪ ᑌᑎᗯᗩᑎTᕮᗪ ᗩTTᕮᑎTIOᑎ ᖴᖇOᗰ Tᕼᕮ ᑭᖇYIᑎG ᕮYᕮS Oᖴ Tᕼᕮ GOᐯᕮᖇᑎᗰᕮᑎT ᗩᑎᗪ OTᕼᕮᖇ OᖇGᗩᑎIᘔᗩTIOᑎS TᕼᗩT ᗯISᕼᕮᗪ TO ᗪO Tᕼᕮᗰ ᕼᗩᖇᗰ. TᖇᗩᑎSᑭOᖇTᕮᗪ TᕼOᑌSᗩᑎᗪS Oᖴ ᗰIᒪᕮS IᑎTO Tᕼᕮ ᑎOᖇTᕼ ᗩTᒪᗩᑎTIᑕ ᗷY SᕼIᑭS ᗰᑌᑕᕼ ᒪIKᕮ Tᕼᕮ OᒪYᗰᑭIᗩᑎ, Tᕼᕮ ᗰᗩTᕮᖇIᗩᒪS ᗯᕮᖇᕮ Tᕼᕮᑎ SᑌᗷᗰᕮᖇGᕮᗪ TO Tᕼᕮ Oᑕᕮᗩᑎ ᖴᒪOOᖇ ᐯIᗩ ᗩ ᒪᗩᖇGᕮ STᗩTᕮ-Oᖴ-Tᕼᕮ-ᗩᖇT SᑌᗷᗰᕮᖇSIᗷᒪᕮ ᑭᒪᗩTᖴOᖇᗰ ᑎIᑕKᑎᗩᗰᕮᗪ "Tᕼᕮ SIᑎKᕮᖇ", ᗯᕼᕮᖇᕮ ᗪᕮᕮᑭ Sᕮᗩ ᗯᕮᒪᗪᕮᖇS ᗩᑎᗪ ᗰᕮᑕᕼᗩᑎIᑕS SᕮT TO ᗯOᖇK ᑕᖇᕮᗩTIᑎG Tᕼᕮ ᖴOᑌᑎᗪᗩTIOᑎ ᖴOᖇ Tᕼᕮ ᑕITY; SIᑎKIᑎG ᑭIᒪIᑎGS ᗩᑎᗪ GIᖇᗪᕮᖇS ᗪᕮᕮᑭ IᑎTO Tᕼᕮ ᖇOᑕK ᗩᑎᗪ SIᒪT Oᖴ Tᕼᕮ Oᑕᕮᗩᑎ ᖴᒪOOᖇ.

ᗰᗩᑎᗩGIᑎG TO ᑭᕮᖇᗰᗩᑎᕮᑎTᒪY ᗩᑎᑕᕼOᖇ "Tᕼᕮ SIᑎKᕮᖇ" TO Tᕼᕮ Sᕮᗩ'S ᗷOTTOᗰ; ᑭᖇᕮ-ᖴᗩᗷᖇIᑕᗩTᕮᗪ ᗷᑌIᒪᗪIᑎGS ᗯITᕼ ᗩᒪᑌᗰIᑎIᑌᗰ ᖴᖇᗩᗰᕮS ᗯᕮᖇᕮ ᗩSSᕮᗰᗷᒪᕮᗪ ᑎᕮᗩᖇ Tᕼᕮ Sᑌᖇᖴᗩᑕᕮ ᗷᕮᖴOᖇᕮ ᗷᕮIᑎG ᗷOTᕼ SᑌᗷᗰᑌᖇGᕮᗪ ᗩᑎᗪ ᒪOᗯᕮᖇᕮᗪ ᑌSIᑎG ᒪᑌᑎᕮTTᕮ ᖇIᑎGS, ᗩᑎᗪ ᗩᑎᑕᕼOᖇᕮᗪ ᗪOᗯᑎ IᑎTO Tᕼᕮ ᖴOᑌᑎᗪᗩTIOᑎS, TᕼIS ᑕᖇᕮᗩTIᑎG Tᕼᕮ ᗷᕮᗩᑌTIᖴᑌᒪ ᗩᖇT ᗪᕮᑕO ᗰᕮTᖇOᑭOᒪIS ᖇᗩᑭTᑌᖇᕮ IS KᑎOᗯᑎ ᖴOᖇ- ᗩᑎᗪ ᗷY Tᕼᕮ 5Tᕼ Oᖴ ᑎOᐯᕮᗰᗷᕮᖇ, 1946, ᖇᗩᑭTᑌᖇᕮ ᕼᗩᗪ ᗷᕮGᑌᑎ TO ᖇᕮᑕᕮIᐯᕮ Tᕼᕮ ᖴIᖇST Oᖴ ITS ᑎᕮᗯ ᖇᕮSIᗪᕮᑎTS.

Tᕼᕮ ᗰᗩᒍOᖇ ᑕOᑎSTᖇᑌᑕTIOᑎ ᑭᕮᖇIOᗪ Oᖴ ᖇᗩᑭTᑌᖇᕮ ᑕOᑎTIᑎᑌᕮᗪ Oᑎ ᑌᑎTIᒪ Tᕼᕮ ᕮᑎᗪ Oᖴ Tᕼᕮ 1940S, ᗯITᕼ ᐯᗩᖇIOᑌS Sᗰᗩᒪᒪᕮᖇ ᑭᖇOᒍᕮᑕTS ᑕOᑎTIᑎᑌIᑎG ᗷOTᕼ Iᑎ ᗩᑎᗪ ᗩᖇOᑌᑎᗪ Tᕼᕮ ᑕITY ᑌᑎTIᒪ ᖇᗩᑭTᑌᖇᕮ'S ᑕOᑎSTᖇᑌᑕTIOᑎ ᗯᗩS ᕮᐯᕮᑎTᑌᗩᒪᒪY ᑕOᗰᑭᒪᕮTᕮᗪ Iᑎ 1951. ᖇᗩᑭTᑌᖇᕮ IS ᑎOᗯ ᕼOᗰᕮ TO ᗰᗩᑎY ᗩ ᗪIᖴᖴᕮᖇᕮᑎT ᒪOᑕᗩTIOᑎ TᕼᖇOᑌGᕼOᑌT Tᕼᕮ ᑕITY, ᕮᗩᑕᕼ ᗯITᕼ IT'S Oᗯᑎ ᑌᑎIᑫᑌᕮ Tᕼᕮᗰᕮ ᗩᑎᗪ ᗩᑭᑭᕮᗩᖇᗩᑎᑕᕮ.




⥼ ᗷᑌSIᑎᕮSSᕮS Iᑎ ᖇᗩᑭTᑌᖇᕮ ⥽

Oᑎᑕᕮ ᕼOᗰᕮ TO ᗰᗩᑎY ᗩ ᕼOᑭᕮᖴᑌᒪ ᑕITIᘔᕮᑎ, ᖇᗩᑭTᑌᖇᕮ ᕼOᑌSᕮS ᗰᗩᑎY ᗪIᖴᖴᕮᖇᕮᑎT ᗷᑌSIᑎᕮSSᕮS ᗩᑎᗪ ᗯOᖇKᑭᒪᗩᑕᕮS TᕼᗩT ᗯᕮᖇᕮ Oᑎᑕᕮ ᗷᖇIᗰᗰIᑎG ᗯITᕼ ᒪIᖴᕮ, ᗩᑎᗪ ᖇᑌᑎ ᗷY ᗪIᖴᖴᕮᖇᕮᑎT ᖴIGᑌᖇᕮ ᕼᕮᗩᗪS ᗯITᕼIᑎ Tᕼᕮ ᑕITY, OᖴᖴᕮᖇIᑎG ᗰᗩᑎY ᗩ ᗪIᖴᖴᕮᖇᕮᑎT SᕮᖇᐯIᑕᕮS TO TᕼOSᕮ ᗯᕼO ᒪIᐯᕮ ᗯITᕼIᑎ Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕOᗰᗰᑌᑎITY- ᑕOᗰᑭᗩᑎIᕮS TᕼᗩT ᗯᕮᖇᕮ ᖴOᑌᑎᗪᕮᗪ Iᑎ ᖇᗩᑭTᑌᖇᕮ:

ᗩTᒪᗩᑎTIᑕ ᕮ᙭ᑭᖇᕮSS ⁓ ᖇᗩIᒪᗯᗩY TᖇᗩᑎSᑭOᖇTᗩTIOᑎ ᖴOᖇ ᑕITIᘔᕮᑎS TᕼᗩT ᗯᗩS ᗪᕮᑕOᗰᗰISSIOᑎᕮᗪ YᕮᗩᖇS ᑭᖇᕮᐯIOᑌS ᗩᑎᗪ SᑌᑭᕮᖇSᕮᗪᕮᗪ ᗷY Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᗰᕮTᖇO SYSTᕮᗰ. ᖴOᑌᑎᗪᕮᗪ ᗷY ᑭᖇᕮᑎTIᑕᕮ ᗰIᒪᒪ Tᕼᕮᑎ ᗷOᑌGᕼT ᗷY ᗩᑌSTᕮᑎ ᗷᗩTᕼYSᑭᕼᕮᖇᕮ.
ᑕIᖇᑕᑌS Oᖴ ᐯᗩᒪᑌᕮS ⁓ ᐯᕮᑎᗪIᑎG ᗰᗩᑕᕼIᑎᕮ ᑕOᗰᑭᗩᑎY TᕼᗩT SᕮᒪᒪS ᐯᗩᖇIOᑌS ITᕮᗰS (ᗩᗰOᑎG Tᕼᕮᗰ, ᗩᗰᗰᑌᑎITIOᑎ ᑌSᕮᗪ ᗪᑌᖇIᑎG Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕIᐯIᒪ ᗯᗩᖇ). Oᗯᑎᕮᗪ ᗷY ᒪᒪOYᗪ ᗯᕮᗷSTᕮᖇ.
ᕮᒪ ᗩᗰᗰO ᗷᗩᑎᗪITO ⁓ ᐯᕮᑎᗪIᑎG ᗰᗩᑕᕼIᑎᕮS ᖴOᖇ ᗯᕮᗩᑭOᑎS ᗩᑎᗪ ᗩᗰᗰᑌᑎITIOᑎ.
ᖴOᑎTᗩIᑎᕮ ᖴᑌTᑌᖇISTIᑕS ⁓ ᗰᗩIᑎᒪY ᑭᒪᗩSᗰIᗪ ᗩᑎᗪ TOᑎIᑕ ᑭᖇOᗪᑌᑕTIOᑎ ᖴᗩᑕIᒪITIᕮS. ᖴOᑌᑎᗪᕮᗪ ᗷY ᖴᖇᗩᑎK ᖴOᑎTᗩIᑎᕮ ᗷᕮᖴOᖇᕮ ᗷᕮIᑎG ᑎᗩTIOᑎᗩᒪIᘔᕮᗪ ᗷY ᖇYᗩᑎ IᑎᗪᑌSTᖇIᕮS, ᗷY Oᖇᗪᕮᖇ Oᖴ Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕᕮᑎTᖇᗩᒪ ᑕOᑌᑎᑕIᒪ.
ᖴOᑎTᗩIᑎᕮ'S ⁓ ᗩ ᒪᗩᐯISᕼ SᕼOᑭᑭIᑎG ᑕᕮᑎTᕮᖇ Oᗯᑎᕮᗪ ᗷY ᖴᖇᗩᑎK ᖴOᑎTᗩIᑎᕮ, SᕮᒪᒪIᑎG ᗰᗩᑎY Oᖴ ᕼIS ᑭᖇOᗪᑌᑕTS Sᑌᑕᕼ ᗩS ᗰᕮᑎ ᗩᑎᗪ ᒪᗩᗪIᕮS ᑕᒪOTᕼᕮS, ᑭᒪᗩSᗰIᗪS Oᖇ ᕼOᗰᕮ ᕮᒪᕮᑕTᖇOᑎIᑕS. Tᕼᕮ ᗪᕮᑭᗩᖇTᗰᕮᑎT STOᖇᕮ ᗷᑌIᒪᗪIᑎGS ᗯᕮᖇᕮ ᑕOᑎᐯᕮᖇTᕮᗪ IᑎTO ᗩ ᑭᖇISOᑎ ᖴOᖇ ᖴOᑎTᗩIᑎᕮ'S SᑭᒪIᑕᕮᗪ ᖴOᒪᒪOᗯᕮᖇS ᗩᖴTᕮᖇ ᕼIS ᗪᕮᗩTᕼ.
GᗩTᕼᕮᖇᕮᖇ'S Gᗩᖇᗪᕮᑎ ⁓ ᐯᕮᑎᗪIᑎG ᗰᗩᑕᕼIᑎᕮ ᖴOᖇ GᕮᑎᕮTIᑕ ᑌᑭGᖇᗩᗪᕮS. TᕼIS ᗷᑌSIᑎᕮSS ᗪᕮᗩᒪT ᗯITᕼ ᗩᗪᗩᗰ ᗩS ᑕᑌᖇᖇᕮᑎᑕY, ᑎOT ᑕOᗰᗰOᑎ ᗰOᑎᕮY. ᗷᕮᒪOᑎGS TO ᖇYᗩᑎ IᑎᗪᑌSTᖇIᕮS.
ᒍᕮT-ᑭOSTᗩᒪ ⁓ Tᕼᕮ ᗰᗩIᑎ ᑕITYᗯIᗪᕮ SYSTᕮᗰ ᖴOᖇ ᗪISTᖇIᗷᑌTIᑎG ᗰᗩIᒪ ᗩᑎᗪ ᑭᗩᖇᑕᕮᒪS TᕼᖇOᑌGᕼ ᑭᑎᕮᑌᗰO TᑌᗷᕮS.
ᑭOᗯᕮᖇ TO Tᕼᕮ ᑭᕮOᑭᒪᕮ ⁓ ᖴᖇᕮᕮ ᐯᕮᑎᗪIᑎG ᗰᗩᑕᕼIᑎᕮS ᖴOᖇ ᑕᑌSTOᗰ ᗯᕮᗩᑭOᑎS ᑌᑭGᖇᗩᗪᕮS. ᗷᕮᒪOᑎGS TO ᖴOᑎTᗩIᑎᕮ ᖴᑌTᑌᖇISTIᑕS.
ᖇᗩᑭTᑌᖇᕮ ᑕᕮᑎTᖇᗩᒪ ᑕOᗰᑭᑌTIᑎG ⁓ ᑕOᗰᑭᑌTIᑎG ᗩᑎᗪ ᑕᗩᒪᑕᑌᒪᗩTIOᑎ ᗪᗩTᗩ ᑕᕮᑎTᕮᖇ ᖴOᖇ ᖇᗩᑭTᑌᖇᕮ. ᑭᕮᖇᖴOᖇᗰS ᑕOᗰᑭᑌTᗩTIOᑎS ᖴOᖇ OTᕼᕮᖇ ᗷᑌSIᑎᕮSSᕮS ᗩᑎᗪ OᑭᕮᖇᗩTᕮS ᗩᑎᗪ ᗰᗩᑎᗩGᕮS ᗩᑌTOᗰᗩTᕮᗪ SYSTᕮᗰS Oᖴ ᖇᗩᑭTᑌᖇᕮ TᕼᖇOᑌGᕼ Tᕼᕮ TᕼIᑎKᕮᖇ. ᑕO-ᖴOᑌᑎᗪᕮᗪ ᗷY ᑕᕼᗩᖇᒪᕮS ᗰIᒪTOᑎ ᑭOᖇTᕮᖇ ᗩᑎᗪ ᖇᕮᕮᗪ ᗯᗩᕼᒪ.
ᖇᗩᑭTᑌᖇᕮ ᗰᕮTᖇO ⁓ ᗩ ᑕOᑎSOᒪIᗪᗩTᕮᗪ TᖇᗩᑎSᑭOᖇTᗩTIOᑎ SYSTᕮᗰ ᑕᗩᖇᖇYIᑎG ᑕITIᘔᕮᑎS TO ᗩᖇᕮᗩS Oᖴ Tᕼᕮ ᑕITY. ᖴOᑌᑎᗪᕮᗪ ᗷY ᗩᑎTOᑎ KIᑎKᗩIᗪᕮ.
ᖇYᗩᑎ IᑎᗪᑌSTᖇIᕮS ⁓ ᑕOᑎSTᖇᑌᑕTIOᑎ, ᑌTIᒪITIᕮS ᗩᑎᗪ ᑭᖇOᗪᑌᑕT ᗪᕮᐯᕮᒪOᑭᗰᕮᑎT. ᖴOᑌᑎᗪᕮᗪ ᗷY ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ.
SᕮᑕᑌᖇIS ⁓ ᑕOᑎSTᖇᑌᑕTIOᑎ ᑕOᗰᑭᗩᑎY ᖴOᖇ ᗷᑌᒪKᕼᕮᗩᗪ ᗪOOᖇS ᗩᑎᗪ ᗩIᖇᒪOᑕKS Oᖴ Tᕼᕮ ᑕITY.
SIᑎᑕᒪᗩIᖇ SOᒪᑌTIOᑎS ⁓ ᑭᖇOᐯIᗪᕮS ᐯᗩᖇIOᑌS SᕮᖇᐯIᑕᕮS TO ᗷᑌSIᑎᕮSSᕮS ᗩᑎᗪ IᑎᗪIᐯIᗪᑌᗩᒪS, Iᑎ ᑭᗩᖇTIᑕᑌᒪᗩᖇ ᑭᒪᗩSᗰIᗪ ᗩᑎᗪ Gᕮᑎᕮ TOᑎIᑕ TᕮSTIᑎG ᖴOᖇ OTᕼᕮᖇ ᑕOᗰᑭᗩᑎIᕮS Sᑌᑕᕼ ᗩS ᖴOᑎTᗩIᑎᕮ ᖴᑌTᑌᖇISTIᑕS ᖴIᖇST, Tᕼᕮᑎ ᖇYᗩᑎ IᑎᗪᑌSTᖇIᕮS. ᖴOᑌᑎᗪᕮᗪ ᗷY ᗩᑌGᑌSTᑌS SIᑎᑕᒪᗩIᖇ.

⥼ ᖇᕮᒪIGIOᑌS ᗷᕮᒪIᕮᖴS & ᑭᕼIᒪOSOᑭᕼIᕮS ⥽

ᖴOᑌᑎᗪ Iᑎ ᗩ ᖇᗩTᕼᕮᖇ ᕼᕮᗩTᕮᗪ ᑭᑌᗷᒪIᑕ ᗪᕮᗷᗩTᕮ ᗩGᗩIᑎST SOᖴIᗩ ᒪᗩᗰᗷ; ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ ᗷᕮᒪIᕮᐯᕮS TᕼᗩT IᑎᗪIᐯIᗪᑌᗩᒪS ᕼᗩᐯᕮ ᗩ ᖇIGᕼT TO ᖇᕮᒪIGIOᑎ, TᕼOᑌGᕼ OᑎᒪY Iᑎ ᑭᖇIᐯᗩTᕮ, ᗩᑎᗪ TᕼᗩT Tᕼᕮᖇᕮ ᗯᕮᖇᕮ ᑎOT TO ᗷᕮ ᗩᑎY Sᑌᑕᕼ ᑭᑌᗷᒪIᑕ IᑎSTITᑌTIOᑎS Iᑎ ᖇᗩᑭTᑌᖇᕮ- Tᕼᕮ ᖴOᒪᒪOᗯIᑎG ᗩᖇᕮ Tᕼᕮ ᖴIᐯᕮ ᗰᗩᒍOᖇ ᗷᕮᒪIᕮᖴ SYSTᕮᗰS TᕼᗩT ᗩᖇᕮ ᕼᕮᒪᗪ ᗷY Tᕼᕮ ᑕITIᘔᕮᑎS Oᖴ Tᕼᕮ ᑕITY:

Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᖴᗩᗰIᒪY ⁓ ᕮᐯᕮᖇYOᑎᕮ OᗯᕮS ᕮᗩᑕᕼ OTᕼᕮᖇ ᗩ SᕮᑎSᕮ Oᖴ ᑌᑎITY ᗩᑎᗪ ᗷᖇOTᕼᕮᖇᕼOOᗪ. TᕼIS ᗯᗩS Tᕼᕮ ᗰOST ᖇᕮᑕᕮᑎT ᑕᑌᒪT TO ᕼᗩᐯᕮ ᗩᑭᑭᕮᗩᖇᕮᗪ Iᑎ ᖇᗩᑭTᑌᖇᕮ, ᕼᗩᐯIᑎG ᗷᕮᕮᑎ ᑕᖇᕮᗩTᕮᗪ ᗩᑎᗪ ᑭᖇOᗰOTᕮᗪ ᗷY SOᖴIᗩ ᒪᗩᗰᗷ ᗩᑎᗪ SIᗰOᑎ ᗯᗩᒪᕮS.
Tᕼᕮ GᖇᕮᗩT ᑕᕼᗩIᑎ ⁓ ᗷᕮᒪIᕮᖴ Iᑎ Sᕮᒪᖴ-IᑎTᕮᖇᕮST ᗩᑎᗪ ᖴᖇᕮᕮ ᗰᗩᖇKᕮTS ᗯᕼIᑕᕼ ᑌᑎITᕮ Tᕼᕮ ᑭᕮOᑭᒪᕮ Iᑎ TᕼᕮIᖇ ᖴOᖇᗯᗩᖇᗪ ᑭᖇOGᖇᕮSS. TᕼIS IS ᗰOᖇᕮ Oᖴ ᗩ ᑭᕼIᒪOSOᑭᕼY Tᕼᗩᑎ ᗩ ᖇᕮᒪIGIOᑎ, ᗩS IT IS ᗩ ᗷᕮᒪIᕮᖴ ᑭᖇOᗰOTᕮᗪ ᗷY ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ, ᗯᕼO IS ᗩ STᗩᑌᑎᑕᕼ ᗩTᕼᕮIST.
ᑕᕼᖇISTIᗩᑎITY ⁓ ᗷᕮᒪIᕮᖴ Iᑎ Tᕼᕮ ᑕᕼᖇISTIᗩᑎ GOᗪ ᗩᑎᗪ ᑕᕼᖇIST ᗩS Tᕼᕮ SᗩᐯIOᖇ Oᖴ ᕼᑌᗰᗩᑎITY. TᕼIS IS ᗩᑎ ᑌᑎᗪᕮᖇGᖇOᑌᑎᗪ ᖇᕮᒪIGIOᑎ Iᑎ ᖇᗩᑭTᑌᖇᕮ, ᗩS IT IS OᖴᖴIᑕIᗩᒪᒪY ᗷᗩᑎᑎᕮᗪ ᗩS ᗩᑎ OᖇGᗩᑎIᘔᕮᗪ ᖇᕮᒪIGIOᑎ. Tᕼᕮ ᗷᗩᑎ ᕮᑎᗩᗷᒪᕮᗪ SᗰᑌGGᒪᕮᖇS TO ᗰᗩKᕮ ᗰOᑎᕮY ᖴᖇOᗰ SᗰᑌGGᒪIᑎG ᗰᗩᑎY ᖇᕮᒪIGIOᑌS ᗩᖇTIᖴᗩᑕTS, ᗩᑎᗪ Gᗩᐯᕮ ᖴᑌᕮᒪ TO ᗪᕮᗰᕮᑎTᕮᗪ ᖇᕮᒪIGIOᑌS ᖴᗩᑎᗩTIᑕISᗰ (ᗩS SᕼOᗯᑎ ᗷY Tᕼᕮ ᗯᗩᗪᕮᖇS SᑭᒪIᑕᕮᖇ TYᑭᕮ).
ᗩTᕼᕮISᗰ ⁓ Tᕼᕮ ᗪISᗷᕮᒪIᕮᖴ Iᑎ ᗩ ᗰᕮTᗩᑭᕼYSIᑕᗩᒪ GOᗪ Oᖇ SᑭIᖇITᑌᗩᒪ ᗷᕮIᑎGS. TᕼIS IS Tᕼᕮ OᖴᖴIᑕIᗩᒪ ᑭᕼIᒪOSOᑭᕼIᑕᗩᒪ STᗩᑎᑕᕮ Oᖴ ᖇᗩᑭTᑌᖇᕮ, ᗩS IᗰᑭOSᕮᗪ ᗷY ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ.
Tᕼᕮ SᗩTᑌᖇᑎIᑎᕮ ⁓ ᗩ ᗪᗩᖇK ᑭᗩGᗩᑎ ᑕᑌᒪT ᖴOᑌᑎᗪ Iᑎ ᗩᖇᑕᗩᗪIᗩ. ᗯOᖇSᕼIᑭᕮᖇS Oᖴ TᕼIS ᑕᑌᒪT ᗪᖇIᑎK ᕼᑌᗰᗩᑎ ᗷᒪOOᗪ ᗩS ᗯᕮᒪᒪ ᗩS ᑕᑌᑭS ᖴᑌᒪᒪ Oᖴ ᑭᒪᗩSᗰIᗪS (ᗰOST ᒪIKᕮᒪY ᖇᗩᗯ ᗩᗪᗩᗰ). TᕼᕮY ᗩᒪSO ᗷᕮᒪIᕮᐯᕮ TᕼᕮY ᕼᗩᐯᕮ ᗷᕮᕮᑎ "TOᑌᑕᕼᕮᗪ" ᗷY Tᕼᕮ ᗩᑎᑕIᕮᑎT GOᗪS.

⥼ SᑕIᕮᑎᑕᕮ & TᕮᑕᕼᑎOᒪOGY ⥽

ᗷᕮᒪIᕮᐯIᑎG TᕼᗩT SᑕIᕮᑎTIᖴIᑕ ᗩᑕᕼIᕮᐯᕮᗰᕮᑎT ᗯITᕼIᑎ Tᕼᕮ ᗯOᖇᒪᗪ ᗯᗩS ᗷᕮIᑎG ᖇᕮSTᖇIᑕTᕮᗪ ᗷY 'ᑭᕮTTY ᗰOᖇᗩᒪITY', ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ SOᑌGᕼT TO ᕮᑎSᑌᖇᕮ TᕼᗩT Tᕼᕮ IᑎᕼᗩᗷITᗩᑎTS Oᖴ ᖇᗩᑭTᑌᖇᕮ ᑕOᑌᒪᗪ ᕮ᙭ᑭᒪOᖇᕮ ᐯᗩᖇIOᑌS ᑭᗩTᕼS Oᖴ IᑎᑫᑌIᖇY ᑭᖇᕮᐯIOᑌSᒪY ᗪᕮᕮᗰᕮᗪ TOO IᗰᗰOᖇᗩᒪ, Oᖇ TOO ᑕOᑎTᖇOᐯᕮᖇSIᗩᒪ TO ᖴOᒪᒪOᗯ, ᗩᑎᗪ ᗯᕼIᒪᕮ SOᗰᕮ SᑕIᕮᑎTIᖴIᑕ ᗷᖇᕮᗩKTᕼᖇOᑌGᕼS ᗯᕮᖇᕮ Iᑎ ᖇOᗷOTIᑕS, ᗷᖇIᑎGIᑎG ᗩᗷOᑌT ᗩᑎ ᗩᗪᐯᗩᑎᑕᕮᗪ ᗩᑌTOᗰᗩTᕮᗪ SᕮᑕᑌᖇITY SYSTᕮᗰ; OTᕼᕮᖇS ᗯᕮᖇᕮ Iᑎ ᗷIOᒪOGY, ᗯᕼᕮᖇᕮ ᗪᕮᐯᕮᒪOᑭᗰᕮᑎTS ᗩᗪᐯᗩᑎᑕᕮᗪ Iᑎ Tᕼᕮ ᖇᕮSTOᖇᗩTIOᑎ Oᖴ ᒪIᖴᕮ, ᗷOTᕼ Iᑎ ᑭᒪᗩᑎTS (Tᕼᕮ ᒪᗩᘔᗩᖇᑌS ᐯᕮᑕTOᖇ), ᗩᑎᗪ Iᑎ ᕼᑌᗰᗩᑎS (Tᕼᕮ ᐯITᗩ-ᑕᕼᗩᗰᗷᕮᖇ)- Tᕼᕮᖇᕮ ᗯᕮᖇᕮ ᗩᒪSO ᗰᗩᑎY TᕮᑕᕼᑎOᒪOGIᑕᗩᒪ ᗩᗪᐯᗩᑎᑕᕮᗰᕮᑎTS ᖇᕮGᗩᖇᗪIᑎG ITᕮᗰS TᕼᗩT ᗯᕮᖇᕮ ᑕᖇᕮᗩTᕮᗪ ᗯᕮᒪᒪ ᗷᕮᖴOᖇᕮ TᕼᕮY ᗯᕮᖇᕮ ᑕOᗰᗰᕮᖇᑕIᗩᒪᒪY ᗩᐯᗩIᒪᗩᗷᒪᕮ Oᑎ Tᕼᕮ Sᑌᖇᖴᗩᑕᕮ, Sᑌᑕᕼ ᗩS: ᑭOᖇTᗩᗷᒪᕮ ᖇᕮᑕOᖇᗪIᑎG ᗪᕮᐯIᑕᕮS (ᗩᑭᑭᖇO᙭. ᖴIᐯᕮ YᕮᗩᖇS ᕮᗩᖇᒪY), ᗩᑌTOᗰᗩTIᑕ ᗪOOᖇS (ᗩᑭᑭᖇO᙭. ᕮIGᕼT YᕮᗩᖇS ᕮᗩᖇᒪY), ᗩᑎᗪ ᐯOᑕᗩᒪ ᗷIOᗰᕮTᖇIᑕ SᕮᑕᑌᖇITY.

KᑎOᗯᑎ TO ᗷᕮ Oᑎᕮ Oᖴ Tᕼᕮ ᗷIGGᕮST ᗷᖇᕮᗩKTᕼᖇOᑌGᕼS ᗩᑕᕼIᕮᐯᕮᗪ ᗯITᕼIᑎ ᖇᗩᑭTᑌᖇᕮ ᗯᗩS ᗷᖇIGIᗪ Tᕮᑎᕮᑎᗷᗩᑌᗰ'S ᗪISᑕOᐯᕮᖇY Oᖴ ᗩᗪᗩᗰ- ᑌᑎSTᗩᗷᒪᕮ STᕮᗰ ᑕᕮᒪᒪS ᖴᖇOᗰ ᗩ SᑭᕮᑕIᕮS Oᖴ Sᕮᗩ SᒪᑌG ᗯᕼIᑕᕼ ᒪᕮᗪ TO Tᕼᕮ ᑕᖇᕮᗩTIOᑎ Oᖴ ᗷOTᕼ ᑭᒪᗩSᗰIᗪS, ᗩᑎᗪ Gᕮᑎᕮ TOᑎIᑕS. ᗩᗪᗩᗰ ᗩᒪᒪOᗯᕮᗪ Tᕼᕮ ᑌSᕮᖇ TO SᑭᒪIᑕᕮ ᑎᕮᗯ GᕮᑎᕮTIᑕ ᗰᗩTᕮᖇIᗩᒪ IᑎTO Tᕼᕮ IᑎᗪIᐯIᗪᑌᗩᒪ'S ᗪᑎᗩ, ᕮᑎᕼᗩᑎᑕIᑎG ᗷOTᕼ ᕼᕮᗩᒪTᕼ ᗩᑎᗪ IᑎTᕮᒪᒪᕮᑕT, ᗩᑎᗪ GIᐯIᑎG ᕮ᙭TᖇᗩOᖇᗪIᑎᗩᖇY ᑭOᗯᕮᖇS TO Tᕼᕮ ᕼᑌᗰᗩᑎ ᗷOᗪY; ᕼOᗯᕮᐯᕮᖇ, ᗩᗪᗩᗰ ᗯᗩS SOOᑎ ᖴOᑌᑎᗪ TO ᑕᗩᑌSᕮ ᑎOT OᑎᒪY ᑭᕼYSIᑕᗩᒪ, ᗷᑌT ᗩᒪSO ᗰᕮᑎTᗩᒪ ᗪISᖇᑌᑭTIOᑎ ᗩᑎᗪ ᗪᗩᗰᗩGᕮ ᗩS ᗰOᖇᕮ Oᖴ Tᕼᕮ ᑌSᕮᖇ'S ᑎᗩTIᐯᕮ ᑕᕮᒪᒪS ᗯᕮᖇᕮ ᖇᕮᑭᒪᗩᑕᕮᗪ ᗷY TᕼOSᕮ Oᖴ Tᕼᕮ ᑌᑎSTᗩᗷᒪᕮ STᕮᗰ ᑕᕮᒪᒪS, ᗩᑎᗪ ᗯITᕼ TᕼᗩT, Tᕼᕮ ᑭOᑭᑌᒪᗩᑕᕮ'S ᑎᕮᕮᗪ ᖴOᖇ ᗩᗪᗩᗰ ᗷᕮᑕᗩᗰᕮ ᗩᑎ ᗩᗪᗪIᑕTIOᑎ... ᗩᑕᑕᕮᒪᕮᖇᗩTᕮᗪ ᗷY Tᕼᕮ ᕮ᙭ᑕᕮSSIᐯᕮ SᑭᒪIᑕIᑎG TᕼᗩT ᗯᗩS ᗪOᑎᕮ IᑎᑕᖇᕮᗩSIᑎGᒪY ᗪᑌᖇIᑎG, ᗩᑎᗪ ᗩᖴTᕮᖇ ᖇᗩᑭTᑌᖇᕮ'S ᑕIᐯIᒪ ᗯᗩᖇ.






⥼ TᖇᗩᑎSᑭOᖇTᗩTIOᑎ ⥽

TᖇᗩᑎSᑭOᖇTᗩTIOᑎ ᗯITᕼIᑎ ᖇᗩᑭTᑌᖇᕮ IS ᑭᖇOᐯIᗪᕮᗪ ᗰᗩIᑎᒪY ᗷY ᖇᗩᑭTᑌᖇᕮ ᗰᕮTᖇO; ᗩ ᑭᑌᗷᒪIᑕ TᖇᗩᑎSᑭOᖇTᗩTIOᑎ SYSTᕮᗰ ᑕOᑎSISTIᑎG Oᖴ ᗷOTᕼ ᗷᗩTᕼYSᑭᕼᕮᖇᕮS ᗩᑎᗪ Tᖇᗩᗰ ᑕᗩᖇS, Iᑎ ᗯᕼIᑕᕼ ᑕITIᘔᕮᑎS ᗩᖇᕮ GIᐯᕮᑎ ᗩᑕᑕᕮSS TO ᗪIᖴᖴᕮᖇᕮᑎT ᑭᒪᗩᑕᕮS TᕼᖇOᑌGᕼOᑌT Tᕼᕮ ᑕITY. ᗩ SIᑎGᒪᕮ TᕮᖇᗰIᑎᑌS Oᖴ Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᗰᕮTᖇO SYSTᕮᗰ IS Tᕼᕮ ᗷᗩTᕼYSᑭᕼᕮᖇᕮ ᗪOᑕK ᒪOᑕᗩTᕮᗪ IᑎSIᗪᕮ Tᕼᕮ ᖇᕮᗰOTᕮ ᒪIGᕼTᕼOᑌSᕮ Iᑎ Tᕼᕮ ᑎOᖇTᕼ ᗩTᒪᗩᑎTIᑕ; ᖇᗩᑭTᑌᖇᕮ'S ᑭᖇIᗰᗩᖇY ᕮᑎTᖇᗩᑎᑕᕮ TO Tᕼᕮ OᑌTSIᗪᕮ ᗯOᖇᒪᗪ.

ᗩᑎOTᕼᕮᖇ ᗰOᗪᕮ Oᖴ TᖇᗩᑎSᑭOᖇTᗩTIOᑎ ᗯITᕼIᑎ ᖇᗩᑭTᑌᖇᕮ IS Tᕼᕮ ᗩTᒪᗩᑎTIᑕ ᕮ᙭ᑭᖇᕮSS; ᗩ ᑭᖇᕮSSᑌᖇIᘔᕮᗪ ᖇᗩIᒪ SYSTᕮᗰ ᖴOᖇ ᗰOᐯIᑎG ᗩ ᒪᗩᖇGᕮᖇ ᑎᑌᗰᗷᕮᖇ Oᖴ ᑕITIᘔᕮᑎS, TᕼOᑌGᕼ TᕼIS ᑭᗩᖇTIᑕᑌᒪᗩᖇ ᗰOᗪᕮ Oᖴ TᖇᗩᑎSᑭOᖇTᗩTIOᑎ ᗯᗩS ᗰOSTᒪY ᗪᕮᑕOᗰᗰISSIOᑎᕮᗪ SIᑎᑕᕮ Tᕼᕮ OᑌTᗷᖇᕮᗩK Oᖴ ᖇᗩᑭTᑌᖇᕮ'S ᑕIᐯIᒪ ᗯᗩᖇ. ᗩᗪᒍᗩᑕᕮᑎT ᗩᖇᕮᗩS ᗯITᕼIᑎ ᖇᗩᑭTᑌᖇᕮ ᗩᖇᕮ ᑕOᑎᑎᕮᑕTᕮᗪ TᕼᖇOᑌGᕼ ᗷᑌᒪKᕼᕮᗩᗪ ᗪOOᖇS, ᗩᑎᗪ ᗩᖇᕮᗩS ᗯITᕼIᑎ SOᗰᕮ ᒪᕮᐯᕮᒪS ᗩᖇᕮ ᑕOᑎᑎᕮᑕTᕮᗪ TO Oᑎᕮ ᗩᑎOTᕼᕮᖇ ᗷY GᒪᗩSS TᑌᑎᑎᕮᒪS: Sᗰᗩᒪᒪ OᑎᕮS ᖴOᖇ ᑭᕮᗪᕮSTᖇIᗩᑎS, ᗩᑎᗪ ᒪᗩᖇGᕮᖇ OᑎᕮS ᖴOᖇ Tᕼᕮ SYSTᕮᗰ Oᖴ ᖇᗩIᒪᕮᗪ TᖇᗩᗰᗯᗩYS.

ᖇᗩᑭTᑌᖇᕮ IS IᑎTᕮᑎTIOᑎᗩᒪᒪY ISOᒪᗩTᕮᗪ ᖴᖇOᗰ Tᕼᕮ ᗯOᖇᒪᗪ, ᗩᑎᗪ Tᕼᕮ ᑭᖇIᗰᗩᖇY ᗰOᗪᕮ Oᖴ ᗩᑕᑕᕮSS ᗯᗩS ᐯIᗩ ᗷᗩTᕼYSᑭᕼᕮᖇᕮS TᖇᗩᐯᕮᒪᒪIᑎG ᗪOᗯᑎ ᖴᖇOᗰ Tᕼᕮ ᒪIGᕼTᕼOᑌSᕮ, ᑭᕮᖇᑕᕼᕮᗪ Oᑎ ᗩᑎ ISᒪᗩᑎᗪ ᗩᗷOᐯᕮ.



⥼ IᑎᖴOᖇᗰᗩTIOᑎ ᗩᗷOᑌT ᗩᗪᗩᗰ ⥽

ᗩ SᑌᗷSTᗩᑎᑕᕮ ᗷOTᕼ ᕼᗩᖇᐯᕮSTᕮᗪ ᗩᑎᗪ ᑭᖇOᑕᕮSSᕮᗪ ᖴᖇOᗰ ᗩ (ᗷᕮᖴOᖇᕮ ᑌᑎKᑎOᗯᑎ) SᑭᕮᑕIᕮS Oᖴ Sᕮᗩ SᒪᑌG ᖴOᑌᑎᗪ ᒪIᐯIᑎG Oᑎ Tᕼᕮ Oᑕᕮᗩᑎ'S ᖴᒪOOᖇ, ᗩᗪᗩᗰ IS ᗷᕮᒪIᕮᐯᕮᗪ TO ᑕᗩᑌSᕮ Tᕼᕮ ᖴOᖇᗰᗩTIOᑎ Oᖴ ᑭOTᕮᑎT STᕮᗰ ᑕᕮᒪᒪS TᕼᗩT Iᑎ Tᑌᖇᑎ ᕼᗩᐯᕮ Tᕼᕮ ᑭOᗯᕮᖇ ᗩᑎᗪ ᗩᗷIᒪITY TO ᗪIᖴᖴᕮᖇᕮᑎTIᗩTᕮ IᑎTO ᗩᑎY ᑕᕮᒪᒪ TYᑭᕮ; ᗩ ᐯISᑕOᑌS Gᖇᕮᕮᑎ ᒪIᑫᑌIᗪ Iᑎ ITS ᖇᗩᗯ ᖴOᖇᗰ, ᗩᗪᗩᗰ ᑕᗩᑎ ᗷᕮ GᕮᑎᕮTIᑕᗩᒪᒪY ᗰᗩᑎIᑭᑌᒪᗩTᕮᗪ TO ᑭᖇOᗪᑌᑕᕮ TISSᑌᕮ, ᗩᑎᗪ ᖴᑌᑎᑕTIOᑎS TᕼᗩT ᗯOᑌᒪᗪ ᑎOT ᑎOᖇᗰᗩᒪᒪY ᗷᕮ ᑭᖇᕮSᕮᑎT ᗯITᕼIᑎ Tᕼᕮ ᕼᑌᗰᗩᑎ ᗷOᗪY.

ᗩᑕTIᑎG ᒪIKᕮ ᗩ SᕮᕮᗰIᑎGᒪY ᗷᕮᑎIGᑎ ᖴOᖇᗰ Oᖴ ᑕᗩᑎᑕᕮᖇ, ᗩᗪᗩᗰ ᗯOᖇKS TO ᗪᕮSTᖇOY ᑎᗩTIᐯᕮ ᑕᕮᒪᒪS, ᖇᕮᑭᒪᗩᑕIᑎG Tᕼᕮᗰ ᗯITᕼ ᑌᑎSTᗩᗷᒪᕮ STᕮᗰ ᐯᕮᖇSIOᑎS, ᗩᑎᗪ ᗯᕼIᒪᕮ IT'S TᕼIS IᑎSTᗩᗷIᒪITY TᕼᗩT ᗷᖇIᑎGS ᗩᗷOᑌT IT'S ᗩᗰᗩᘔIᑎG ᑭᖇOᑭᕮᖇTIᕮS, IT'S ᗩᒪSO ᗯᕼᗩT ᑕᗩᑌSᕮS Tᕼᕮ ᑕOSᗰᕮTIᑕ, ᗩᑎᗪ ᗰᕮᑎTᗩᒪ ᗪᗩᗰᗩGᕮ TO TᕼOSᕮ ᗯᕼO ᑌSᕮ IT ᕼᗩᗷITᑌᗩᒪᒪY- TᕼIS IᑎSTᗩᗷIᒪITY Oᖴ Tᕼᕮ STᕮᗰ ᑕᕮᒪᒪS ᖴOᖇᑕIᑎG Tᕼᕮ ᑌSᕮᖇ TO ᖇᕮᑫᑌIᖇᕮ ᗰOᖇᕮ ᗩᗪᗩᗰ TO ᖇᕮᗰᗩIᑎ Sᗩᑎᕮ ᗩᑎᗪ ᕼᕮᗩᒪTᕼY, ᗩT ᖇISK Oᖴ ᗷᕮᑕOᗰIᑎG ᑌᑎSTᗩᗷᒪᕮ Iᖴ TᕼᕮY ᖴᗩIᒪ TO ᗪO SO. Tᕼᕮ Sᕮᗩ SᒪᑌGS ᗩᒪOᑎᕮ, ᕼOᗯᕮᐯᕮᖇ, ᑭᖇOᐯᕮᗪ ᑌᑎᗩᗷᒪᕮ TO ᑭᖇOᐯIᗪᕮ ᕮᑎOᑌGᕼ ᗩᗪᗩᗰ ᖴOᖇ ᗰᗩᖇKᕮTIᑎG Oᖴ ᑕOᑎSᑌᗰᕮᖇ ᑭᖇOᗪᑌᑕTS, ᗩᑎᗪ IT ᗯᗩS ᖴOᑌᑎᗪ TᕼᗩT ᗯᕼᕮᑎ ᗩ SᒪᑌG ᗯᗩS ᕮᗰᗷᕮᗪᗪᕮᗪ ᗯITᕼIᑎ ᗩ ᕼOSTS STOᗰᗩᑕᕼ, IT GᕮᑎᕮᖇᗩTᕮᗪ TᗯᕮᑎTY TO TᕼIᖇTY TIᗰᕮS Tᕼᕮ YIᕮᒪᗪ Oᖴ ᑌSᗩᗷᒪᕮ ᗩᗪᗩᗰ; IT ᗯᗩS ᗯITᕼ TᕼIS ᑭᑌᖇᑭOSᕮ TᕼᗩT Tᕼᕮ ᒪITTᒪᕮ SISTᕮᖇ'S ᗯᕮᖇᕮ ᗷᖇOᑌGᕼT ᗩᗷOᑌT, ᗩS YOᑌᑎG GIᖇᒪS ᗯᕮᖇᕮ ᖴOᑌᑎᗪ TO ᗷᕮ Tᕼᕮ OᑎᒪY ᐯIᗩᗷᒪᕮ ᕼOSTS.

ᗯᕼIᒪᕮ Tᕼᕮ ᕮ᙭ᗩᑕT ᗰᕮᑕᕼᗩᑎISᗰ ᖴOᖇ TᕼIS ᗩTTᖇIᗷᑌTᕮ IS ᑌᑎKᑎOᗯᑎ, ᗩᗪᗩᗰ IS SᕼOᗯᑎ TO ᕼOᒪᗪ SOᗰᕮ ᖴOᖇᗰ Oᖴ ᗰᕮᗰOᖇY, ᗩᑎᗪ IS ᗩᗷᒪᕮ TO ᖇᕮᑕᗩᒪᒪ ᑭᗩST ᑕᕮᒪᒪ ᑕOᑎᖴIGᑌᖇᗩTIOᑎS; TᕼᕮSᕮ ᗰᕮᗰOᖇIᕮS ᗩᖇᕮ ᗩᗷᒪᕮ TO ᗷᕮ TᖇᗩᑎSᖴᕮᖇᖇᕮᗪ TO ᗩᑎOTᕼᕮᖇ IᑎᗪIᐯIᗪᑌᗩᒪ Iᖴ Tᕼᕮ ᗩᗪᗩᗰ IS ᖇᕮᗰOᐯᕮᗪ ᖴᖇOᗰ Oᑎᕮ ᑭᕮᖇSOᑎ, TO Tᕼᕮᑎ ᗷᕮ IᑎᒍᕮᑕTᕮᗪ IᑎTO ᗩᑎOTᕼᕮᖇ- ᑭᕮOᑭᒪᕮ ᕮ᙭ᑭᕮᖇIᕮᑎᑕIᑎG TᕼᕮSᕮ ᑭᗩᖇTIᑕᑌᒪᗩᖇ TYᑭᕮS Oᖴ ᗩᑕᑕIᗪᕮᑎTᗩᒪ ᗰᕮᗰOᖇY TᖇᗩᑎSᖴᕮᖇS OᖴTᕮᑎ Tᕮᑎᗪ TO Sᕮᕮ Tᕼᕮᗰ ᗩS GᕼOSTᒪY IᗰᗩGᕮS. ᖴᑌᖇTᕼᕮᖇ ᖇᕮSᕮᗩᖇᑕᕼ ᗩᒪSO SᕼOᗯᕮᗪ TᕼᗩT ᗷOTᕼ ᗰᕮᗰOᖇIᕮS ᗩᑎᗪ OTᕼᕮᖇ IᑎᖴOᖇᗰᗩTIOᑎ ᑕOᑌᒪᗪ ᗷᕮ ᗪᕮᒪIᗷᕮᖇᗩTᕮᒪY ᕮᑎᑕOᗪᕮᗪ ᗯITᕼIᑎ Tᕼᕮ ᗩᗪᗩᗰ, ᗩᗷᒪᕮ TO ᗷᕮ ᑌSᕮᗪ TO ᗩᗪᗪ ᑎᕮᗯ IᑎᖴOᖇᗰᗩTIOᑎ IᑎTO ᗩ ᑭᕮᖇSOᑎ'S ᗰIᑎᗪ Iᑎ Oᖇᗪᕮᖇ TO OᐯᕮᖇᗯᖇITᕮ, Oᖇ ᗩᒪTᕮᖇ ᕮ᙭ISTIᑎG ᗰᕮᗰOᖇIᕮS.




ᑭᒪᕮᗩSᕮ ᑎOTᕮ: Tᕼᕮ ᑭᖇOᗷᒪᕮᗰS ᑕᗩᑌSᕮᗪ ᗷY ᗩᗪᗩᗰ ᗩᗷᑌSᕮ ᗩᗰOᑎG Tᕼᕮ ᑭOᑭᑌᒪᗩTIOᑎ Oᖴ ᖇᗩᑭTᑌᖇᕮ ᗯᕮᖇᕮ ᕮ᙭ᗩᑕᕮᖇᗷᗩTᕮᗪ ᗷY ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ'S ᖴᖇᕮᕮ ᗰᗩᖇKᕮT SOᑕIᕮTᗩᒪ ᗷᕮᒪIᕮᖴS; ᕼIS ᕼᗩᑎᗪS-Oᖴᖴ ᗩᑭᑭᖇOᗩᑕᕼ TO ᖇᑌᑎᑎIᑎG Tᕼᕮ ᑕITY ᗰᕮᗩᑎT TᕼᗩT Tᕼᕮᖇᕮ ᗯᗩS ᑎO ᖇᕮGᑌᒪᗩTIOᑎ Oᖴ ᗩᗪᗩᗰ ᗩᑎᗪ TᕼᕮᖇᕮᖴOᖇᕮ ᑎO ᑭᖇᕮᐯᕮᑎTIOᑎ Oᖴ ITS SIᗪᕮ ᕮᖴᖴᕮᑕTS. ᗷY Tᕼᕮ TIᗰᕮ Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕIᐯIᒪ ᗯᗩᖇ ᑕᗩᑌSᕮᗪ ᗰᗩSSIᐯᕮ ᗩᗪᗪIᑕTIOᑎ TO ᗩᗪᗩᗰ Iᑎ Tᕼᕮ Gᕮᑎᕮᖇᗩᒪ ᑭOᑭᑌᒪᗩᑕᕮ, ᗩᑎᗪ Tᕼᕮ TᕮᖇᖇIᗷᒪᕮ SIᗪᕮ-ᕮᖴᖴᕮᑕTS ᗯᕮᖇᕮ ᗰᗩᗪᕮ ᑭᒪᗩIᑎᕮᖇ, IT ᗯᗩS TOO ᒪᗩTᕮ.

⥼ ᑭᒪᗩSᗰIᗪS ⥽

SᑭᕮᑕIᗩᒪ SᕮᖇᑌᗰS ᗰᗩᗪᕮ ᖴᖇOᗰ ᑭᖇOᑕᕮSSᕮᗪ ᗩᗪᗩᗰ TᕼᗩT IᑎTᖇOᗪᑌᑕᕮ ᗰOᗪIᖴIᕮᗪ STᕮᗰ ᑕᕮᒪᒪS IᑎTO Tᕼᕮ ᕼᑌᗰᗩᑎ ᗷOᗪY, ᑭᒪᗩSᗰIᗪS ᗩᒪᒪOᗯ ᖴOᖇ GᕮᑎᕮTIᑕ ᗰOᗪIᖴIᑕᗩTIOᑎ ᗩᑎᗪ ᗰᑌTᗩTIOᑎ, GIᐯIᑎG Tᕼᕮ ᑌSᕮᖇ ᗩ Oᑎᕮ Oᖴ ᗩ ᐯᗩST ᗩᖇᖇᗩY Oᖴ ᑭOᗯᕮᖇS ᗩᑎᗪ ᗩᗷIᒪITIᕮS ᗯᕼIᑕᕼ SOᗰᕮ ᗰIGᕼT ᖇᕮᖴᕮᖇ TO ᗩS "Sᑌᑭᕮᖇ ᑭOᗯᕮᖇS". ᗩᑕTIᐯᕮ ᑭᒪᗩSᗰIᗪS ᖇᕮᑫᑌIᖇᕮ ᕮᐯᕮ ᖴOᖇ ᑌSᕮ, ᗯᕼIᒪᕮ ᑭᗩSSIᐯᕮ ᑭᒪᗩSᗰIᗪS (ᖇᕮᖴᕮᖇᖇᕮᗪ TO ᗩS Gᕮᑎᕮ TOᑎIᑕS) ᑭᖇOᐯIᗪᕮ ᗩᑎ ᕮᖴᖴᕮᑕT ᗰᕮᖇᕮᒪY ᗷY ᗷᕮIᑎG TᗩKᕮᑎ Oᑎᑕᕮ.

ᑭᒪᗩSᗰIᗪS ᗩᖇᕮ ᕮ᙭TᖇᕮᗰᕮᒪY ᑭOᗯᕮᖇᖴᑌᒪ, ᕼOᗯᕮᐯᕮᖇ ᕮ᙭ᑕᕮSSIᐯᕮ ᑌSᕮ Oᖴ Tᕼᕮᗰ ᒪᕮᗩᗪS TO ᗷOTᕼ ᑭᕼYSIᑕᗩᒪ ᗩᑎᗪ ᗰᕮᑎTᗩᒪ ᗩᗪᗪIᑕTIOᑎ ᗩᑎᗪ IᑎSTᗩᗷIᒪITY; IT ᗯᗩS TᕼIS ᗰᗩᒍOᖇ ᖴᗩᑕTOᖇ TᕼᗩT ᕼᕮᒪᑭᕮᗪ Iᑎ Tᕼᕮ ᕮᐯᕮᑎTᑌᗩᒪ ᗪOᗯᑎᖴᗩᒪᒪ Oᖴ ᖇᗩᑭTᑌᖇᕮ'S SOᑕIᕮTY.




⥼ Gᕮᑎᕮ TOᑎIᑕS ⥽

SᑭᕮᑕIᗩᒪ SᕮᖇᑌᗰS ᗰᗩᗪᕮ ᖴᖇOᗰ ᑭᖇOᑕᕮSSᕮᗪ ᗩᗪᗩᗰ TᕼᗩT IᑎTᖇOᗪᑌᑕᕮ ᗰOᗪIᖴIᕮᗪ STᕮᗰ ᑕᕮᒪᒪS IᑎTO Tᕼᕮ ᕼᑌᗰᗩᑎ ᗷOᗪY, Gᕮᑎᕮ TOᑎIᑕS ᗩᒪᒪOᗯ ᖴOᖇ GᕮᑎᕮTIᑕ ᗰOᗪIᖴIᑕᗩTIOᑎ ᗩᑎᗪ ᗰᑌTᗩTIOᑎ, GIᐯIᑎG Tᕼᕮ ᑌSᕮᖇ ᗩ Oᑎᕮ Oᖴ ᗩ ᐯᗩST ᗩᖇᖇᗩY Oᖴ ᑭOᗯᕮᖇS ᗩᑎᗪ ᗩᗷIᒪITIᕮS ᗯᕼIᑕᕼ SOᗰᕮ ᗰIGᕼT ᖇᕮᖴᕮᖇ TO ᗩS "Sᑌᑭᕮᖇ ᑭOᗯᕮᖇS". ᗯᕼIᒪᕮ ᗩᑕTIᐯᕮ ᑭᒪᗩSᗰIᗪS ᖇᕮᑫᑌIᖇᕮ ᕮᐯᕮ ᖴOᖇ ᑌSᕮ, ᑭᗩSSIᐯᕮ ᑭᒪᗩSᗰIᗪS (ᖇᕮᖴᕮᖇᖇᕮᗪ TO ᗩS Gᕮᑎᕮ TOᑎIᑕS) ᑭᖇOᐯIᗪᕮ ᗩᑎ ᕮᖴᖴᕮᑕT ᗰᕮᖇᕮᒪY ᗷY ᗷᕮIᑎG TᗩKᕮᑎ Oᑎᑕᕮ.

TOᑎIᑕS ᗩᖇᕮ ᕮ᙭TᖇᕮᗰᕮᒪY ᑭOᗯᕮᖇᖴᑌᒪ, ᕼOᗯᕮᐯᕮᖇ ᕮ᙭ᑕᕮSSIᐯᕮ ᑌSᕮ Oᖴ Tᕼᕮᗰ ᒪᕮᗩᗪS TO ᗷOTᕼ ᑭᕼYSIᑕᗩᒪ ᗩᑎᗪ ᗰᕮᑎTᗩᒪ ᗩᗪᗪIᑕTIOᑎ ᗩᑎᗪ IᑎSTᗩᗷIᒪITY; IT ᗯᗩS TᕼIS ᗰᗩᒍOᖇ ᖴᗩᑕTOᖇ TᕼᗩT ᕼᕮᒪᑭᕮᗪ Iᑎ Tᕼᕮ ᕮᐯᕮᑎTᑌᗩᒪ ᗪOᗯᑎᖴᗩᒪᒪ Oᖴ ᖇᗩᑭTᑌᖇᕮ'S SOᑕIᕮTY.





⥼ ᑕITIᘔᕮᑎ'S Oᖴ ᖇᗩᑭTᑌᖇᕮ ⥽

ᗩ Oᑎᑕᕮ Gᖇᗩᑎᗪ ᑕITY ᗷᑌIᒪT Oᑎ Tᕼᕮ IᗪᕮᗩᒪS ᗩᑎᗪ ᑭᕼIᒪOSOᑭᕼIᕮS Oᖴ ᗩᑎᗪᖇᕮᗯ ᖇYᗩᑎ; ᖇᗩᑭTᑌᖇᕮ, Oᑎᑕᕮ ᗩ ᕼOᗰᕮ ᖴOᖇ Tᕼᕮ ᗷᕮST ᗩᑎᗪ Tᕼᕮ ᗷᖇIGᕼTᕮST ᖴᖇOᗰ ᗩᖇOᑌᑎᗪ Tᕼᕮ ᗯOᖇᒪᗪ, ᑎOᗯ ᒪᗩYS Iᑎ ᖇᑌIᑎS, ᑎOTᕼIᑎG ᗰOᖇᕮ Tᕼᗩᑎ ᗩ ᗰᕮᖇᕮ SᕼᗩᗪOᗯ Oᖴ ᗯᕼᗩT IT ᑌSᕮᗪ TO ᗷᕮ- Tᕼᕮ ᖇᑌIᑎS Oᖴ Tᕼᕮ ᑕITY ᑕᖇᗩᗯᒪIᑎG ᗯITᕼ ᑕITIᘔᕮᑎ'S Oᖴ ᗩᒪᒪ KIᑎᗪS ᗯᕼO ᕼᗩᐯᕮ ᗰᗩᑎᗩGᕮᗪ TO SᑌᖇᐯIᐯᕮ Tᕼᕮ ᑕIᐯIᒪ ᗯᗩᖇ.

ᖴOᖇ ᗰOᖇᕮ IᑎᖴOᖇᗰᗩTIOᑎ Oᑎ TᕼᕮSᕮ IᑎᕼᗩᗷITᗩᑎTS, ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO Sᕮᗩᖇᑕᕼ TᕼᖇOᑌGᕼ Tᕼᕮ ᕼIᗪᕮᖇ ᗷᕮᒪOᗯ- TᕼOᑌGᕼ ᗷᕮ Sᑌᖇᕮ TO Kᕮᕮᑭ ᗩᑎ ᕮYᕮ OᑌT; ᖴOᖇ Tᕼᕮ ᒪISTS ᗯIᒪᒪ ᗩᒪᗯᗩYS ᑕOᑎTIᑎᑌᕮ TO GᖇOᗯ...






⥼ ᗷIG ᗪᗩᗪᗪY ⥽

ᗷIG ᗪᗩᗪᗪIᕮS, OᖇIGIᑎᗩᒪᒪY ᑎᗩᗰᕮᗪ ᑭᖇOTᕮᑕTOᖇS, ᗩᑎᗪ OᑕᑕᗩSIOᑎᗩᒪᒪY ᖇᕮᖴᕮᖇᖇᕮᗪ TO ᗩS "ᗰISTᕮᖇ ᗷᑌᗷᗷᒪᕮS" Oᖇ "ᗰISTᕮᖇ ᗷ" ᗷY ᒪITTᒪᕮ SISTᕮᖇS, ᗩᖇᕮ GᕮᑎᕮTIᑕᗩᒪᒪY ᕮᑎᕼᗩᑎᑕᕮᗪ ᕼᑌᗰᗩᑎ ᗷᕮIᑎGS ᗯᕼO ᕼᗩᐯᕮ ᕼᗩᗪ TᕼᕮIᖇ SKIᑎ ᗩᑎᗪ OᖇGᗩᑎS GᖇᗩᖴTᕮᗪ IᑎTO ᗩᑎ ᕮᑎOᖇᗰOᑌS ᗪIᐯIᑎG SᑌIT, ᗯITᕼ ᗩᒪᑭᕼᗩ SᕮᖇIᕮS ᗷᕮIᑎG ᗩᑎ ᗩᑭᑭᗩᖇᕮᑎT ᕮ᙭ᑕᕮᑭTIOᑎ TO Tᕼᕮ GᖇᗩᖴTIᑎG ᑭᖇOᑕᕮSS, TᕼOᑌGᕼ STIᒪᒪ ᕼᕮᗩᐯIᒪY SᑭᒪIᑕᕮᗪ. TᕼᕮIᖇ ᑭᖇIᗰᗩᖇY ᑭᑌᖇᑭOSᕮ IS TO ᑭᖇOTᕮᑕT ᒪITTᒪᕮ SISTᕮᖇS ᗯᕼIᒪᕮ TᕼᕮY ᕮSᑕOᖇT Tᕼᕮᗰ ᗩᖇOᑌᑎᗪ Tᕼᕮ ᑕITY Oᖴ ᖇᗩᑭTᑌᖇᕮ.

ᗩSIᗪᕮ ᖴᖇOᗰ Tᕼᕮ OᖇIGIᑎᗩᒪ ᗩᒪᑭᕼᗩ SᕮᖇIᕮS, ᗷIG ᗪᗩᗪᗪIᕮS ᑕOᗰᗰᑌᑎIᑕᗩTᕮ ᗷY ᑌTTᕮᖇIᑎG ᕼᗩᑌᑎTIᑎG SOᑌᑎᗪS SIᗰIᒪᗩᖇ TO TᕼᗩT Oᖴ ᗯᕼᗩᒪᕮ ᑕᗩᒪᒪS; Tᕼᕮ ᗩᒪᑭᕼᗩ SᕮᖇIᕮS, ᕼOᗯᕮᐯᕮᖇ, ᑕOᗰᗰᑌᑎIᑕᗩTᕮ ᗯITᕼ ᒪOᗯ, Iᑎᕼᑌᗰᗩᑎ GᖇᑌᑎTS ᗩᑎᗪ ᖇOᗩᖇS- ᖴOᖇ ᗩ ᗰᑌᑕᕼ ᕮᗩSIᕮᖇ IᑎTᕮᖇᑭᖇᕮTᗩTIOᑎ TO TᕼOSᕮ ᗩᖇOᑌᑎᗪ Tᕼᕮᗰ, ᑭᖇOᗪᑌᑕTIOᑎ ᗰOᗪᕮᒪ ᗷIG ᗪᗩᗪᗪIᕮS ᕼᗩᐯᕮ ᗩ ᗷIOᒪᑌᗰIᑎᕮSᑕᕮᑎT ᑕᕼᕮᗰIᑕᗩᒪ SᑌᗷSTᗩᑎᑕᕮ ᗯᕼIᑕᕼ ᖴIᒪᒪᕮᗪ Tᕼᕮ ᕼᕮᒪᗰᕮT, ᗪISᑭᒪᗩYIᑎG ITS STᗩTᕮ Oᖴ ᕮᗰOTIOᑎ Oᖇ ᗰIᑎᗪ. ᕮᗩᑕᕼ ᗷIG ᗪᗩᗪᗪY ᕼᗩS Tᕼᖇᕮᕮ ᗪIᖴᖴᕮᖇᕮᑎT ᑕOᒪOᖇS TᕼᗩT ᕼᕮ ᗯIᒪᒪ ᗪISᑭᒪᗩY Iᑎ ᗩᑎY GIᐯᕮᑎ SITᑌᗩTIOᑎ:

Gᖇᕮᕮᑎ TO IᑎᗪIᑕᗩTᕮ TᕼᗩT Tᕼᕮ ᗷIG ᗪᗩᗪᗪY IS ᕼYᑭᑎOTIᘔᕮᗪ, ᗩᑎᗪ ᖴᖇIᕮᑎᗪᒪY.
YᕮᒪᒪOᗯ TO IᑎᗪIᑕᗩTᕮ Tᕼᕮ ᗷIG ᗪᗩᗪᗪIᕮS ᗩᗯᗩᖇᕮᑎᕮSS, ᗷᑌT IᑎᗪIᖴᖴᕮᖇᕮᑎᑕᕮ TO ᕼIS ᕮᑎᐯIᖇOᑎᗰᕮᑎT, ᕼOᗯᕮᐯᕮᖇ, ᕼᕮ ᗯIᒪᒪ STIᒪᒪ ᖇᕮᗩᑕT TO ᑭᕮOᑭᒪᕮ ᑎᕮᗩᖇ ᕼIᗰ ᗷY SᕼOᐯIᑎG Tᕼᕮᗰ ᗩSIᗪᕮ.
ᖇᕮᗪ TO IᑎᗪIᑕᗩTᕮ Tᕼᕮ ᗷIG ᗪᗩᗪᗪIᕮS ᖇᗩGᕮ TOᗯᗩᖇᗪS ᗩSSᗩIᒪᗩᑎTS.

SᑌᖇᐯIᐯIᑎG ᗷIG ᗪᗩᗪᗪIᕮS ᗯᕼO ᑎO ᒪOᑎGᕮᖇ ᕼᗩᐯᕮ TᕼᕮIᖇ ᒪITTᒪᕮ SISTᕮᖇS ᗷY TᕼᕮIᖇ SIᗪᕮS ᗩᖇᕮ Iᑎ ᗩ ᑭᕮᖇᗰᗩᑎᕮᑎT STᗩTᕮ Oᖴ ᗯᖇᗩTᕼ ᗪᑌᕮ TO Tᕼᕮ ᑭᖇOᒪOᑎGᕮᗪ SᕮᑭᗩᖇᗩTIOᑎ, TᕼIS ᗰᗩKᕮS Tᕼᕮᗰ ᕮ᙭TᖇᕮᗰᕮᒪY ᗩGGᖇᕮSSIᐯᕮ TOᗯᗩᖇᗪS TᕼOSᕮ ᗩᖇOᑌᑎᗪ Tᕼᕮᗰ, ᑕᗩᑌSIᑎG Tᕼᕮᗰ TO ᗩTTᗩᑕK ᗯITᕼOᑌT ᗯᗩᖇᑎIᑎG Oᖇ ᑭᖇOᐯOᑕᗩTIOᑎ.

SO ᖴᗩᖇ, Tᕼᕮᖇᕮ ᗩᖇᕮ ᖴIᐯᕮ ᗰᗩIᑎ TYᑭᕮS Oᖴ ᗷIG ᗪᗩᗪᗪY ᑭᖇOTᕮᑕTOᖇS, IᑎᑕᒪᑌᗪIᑎG TᗯO ᕮᒪITᕮ ᐯᕮᖇSIOᑎS ᖴOᖇ OᑎᒪY Tᕼᕮ ᗷOᑌᑎᑕᕮᖇ ᗩᑎᗪ ᖇOSIᕮ; Oᖴ Tᕼᕮ ᖴIᐯᕮ ᑭᖇOTᕮᑕTOᖇS, OᑎᒪY ᖴOᑌᖇ ᗩᖇᕮ ᖴᑌᑎᑕTIOᑎᗩᒪ ᗩᑎᗪ ᑭᖇOTᕮᑕT Tᕼᕮ ᒪITTᒪᕮ SISTᕮᖇS, ᗯITᕼ OᑎᒪY Tᕼᕮ OᖇIGIᑎᗩᒪ ᗩᒪᑭᕼᗩ SᕮᖇIᕮS ᗩS ᑎOᑎ-ᖴᑌᑎᑕTIOᑎᗩᒪ ᑭᖇOTᕮᑕTOᖇS, ᗯITᕼ Tᕼᕮ ᕮ᙭ᑕᕮᑭTIOᑎ Oᖴ SᑌᗷᒍᕮᑕT ᗪᕮᒪTᗩ ᗩᑎᗪ SᑌᗷᒍᕮᑕT SIGᗰᗩ.

ᖴOᖇ ᗰOᖇᕮ IᑎᖴOᖇᗰᗩTIOᑎ Oᑎ TᕼᕮSᕮ ᗷIG ᗪᗩᗪᗪIᕮS, ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO Sᕮᗩᖇᑕᕼ TᕼᖇOᑌGᕼ Tᕼᕮ ᕼIᗪᕮᖇ ᗷᕮᒪOᗯ- TᕼOᑌGᕼ ᗷᕮ Sᑌᖇᕮ TO Kᕮᕮᑭ ᗩᑎ ᕮYᕮ OᑌT; ᖴOᖇ Tᕼᕮ ᒪISTS ᗯIᒪᒪ ᗩᒪᗯᗩYS ᑕOᑎTIᑎᑌᕮ TO GᖇOᗯ...




⥼ ᒪITTᒪᕮ SISTᕮᖇS ⥽

ᗩᒪSO KᑎOᗯᑎ ᗩS GᗩTᕼᕮᖇᕮᖇS, ᒪITTᒪᕮ SISTᕮᖇS ᗩᖇᕮ YOᑌᑎG ᑭᖇᕮ-ᑭᑌᗷᕮSᑕᕮᑎT GIᖇᒪS ᗯᕼO ᕼᗩᐯᕮ ᗷᕮᕮᑎ GᕮᑎᕮTIᑕᗩᒪᒪY ᗩᒪTᕮᖇᕮᗪ ᗩᑎᗪ ᗰᕮᑎTᗩᒪᒪY ᑕOᑎᗪITIOᑎᕮᗪ TO ᖇᕮᑕᒪᗩIᗰ ᗩᗪᗩᗰ ᖴᖇOᗰ Tᕼᕮ ᑕOᖇᑭSᕮS ᒪITTᕮᖇᕮᗪ ᗩᖇOᑌᑎᗪ Tᕼᕮ ᑕITY Oᖴ ᖇᗩᑭTᑌᖇᕮ. ᑕᖇᕮᗩTᕮᗪ ᗷY ᖇᕮᑎOᗯᑎᕮᗪ SᑕIᕮᑎTIST, ᗷᖇIGIᗪ Tᕮᑎᕮᑎᗷᗩᑌᗰ ᗩS ᗩ SOᒪᑌTIOᑎ TO Tᕼᕮ ᗩᗪᗩᗰ SᕼOᖇTᗩGᕮ; ᒪITTᒪᕮ SISTᕮᖇS ᕮ᙭TᖇᗩᑕT IᑎᕮᖇT ᗩᗪᗩᗰ ᖴᖇOᗰ Tᕼᕮ ᗪᕮᗩᗪ (ᗯᕼOᗰ Tᕼᕮ GIᖇᒪ'S ᖇᕮᖴᕮᖇ TO ᗩS "ᗩᑎGᕮᒪS") ᗷY ᑌSIᑎG ᖇᕮTᖇᗩᑕTᗩᗷᒪᕮ ᑎᕮᕮᗪᒪᕮS, ᗷᕮᖴOᖇᕮ ᑕOᑎSᑌᗰIᑎG Tᕼᕮ ᒪIᑫᑌIᗪ SO TᕼᗩT TᕼᕮIᖇ ᗷOᗪIᕮS ᑕᗩᑎ ᖇᕮᑭᖇOᑕᕮSS IT Oᑎᑕᕮ ᗩGᗩIᑎ IᑎTO ITS ᑌSᗩᗷᒪᕮ ᖴOᖇᗰ. ᗩᒪᗰOST ᗩᒪᗯᗩYS ᗩᑕᑕOᗰᑭᗩᑎIᕮᗪ ᗷY ᗩ ᗷIG ᗪᗩᗪᗪY, TᕼᕮY ᗩᖇᕮ GᕮᑎᕮᖇᗩᒪᒪY Iᗰᗰᑌᑎᕮ TO ᗩᒪᒪ ᖴOᖇᗰS Oᖴ ᗪᗩᗰᗩGᕮ, OᑌTSIᗪᕮ Oᖴ ᗷᕮIᑎG ᕼᗩᖇᐯᕮSTᕮᗪ, ᗩᑎᗪ ᕼᗩᐯᕮ ᑎO OᖴᖴᕮᑎSIᐯᕮ ᗩᗷIᒪITIᕮS; ᗩTTᗩᑕKIᑎG Tᕼᕮᗰ, ᕼOᗯᕮᐯᕮᖇ, ᗯIᒪᒪ Iᑎᑕᑌᖇ Tᕼᕮ ᗯᖇᗩTᕼ Oᖴ TᕼᕮIᖇ ᗷIG ᗪᗩᗪᗪY ᑭᖇOTᕮᑕTOᖇS.

ᖴOᖇ ᗰOᖇᕮ IᑎᖴOᖇᗰᗩTIOᑎ Oᑎ TᕼᕮSᕮ ᒪITTᒪᕮ SISTᕮᖇS, ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO Sᕮᗩᖇᑕᕼ TᕼᖇOᑌGᕼ Tᕼᕮ ᕼIᗪᕮᖇ ᗷᕮᒪOᗯ- TᕼOᑌGᕼ ᗷᕮ Sᑌᖇᕮ TO Kᕮᕮᑭ ᗩᑎ ᕮYᕮ OᑌT; ᖴOᖇ Tᕼᕮ ᒪISTS ᗯIᒪᒪ ᗩᒪᗯᗩYS ᑕOᑎTIᑎᑌᕮ TO GᖇOᗯ...




⥼ ᗷIG SISTᕮᖇ ⥽

Tᕼᕮ ᗷIG SISTᕮᖇS ᗩᖇᕮ ᒪITTᒪᕮ SISTᕮᖇS ᗯᕼO ᕼᗩᐯᕮ GᖇOᗯᑎ ᑌᑭ, ᗩᑎᗪ ᑭᗩSSᕮᗪ TᕼᖇOᑌGᕼ ᑭᑌᗷᕮᖇTY; Tᕼᕮ Oᐯᕮᖇᕮ᙭ᑭOSᑌᖇᕮ TO ᗩᗪᗩᗰ TᕼᖇOᑌGᕼOᑌT TᕼᕮIᖇ ᒪIᐯᕮS ᕼᗩᐯIᑎG ᗰᗩᒍOᖇ ᕮᖴᖴᕮᑕTS Oᑎ TᕼᕮIᖇ ᗰᕮᑎTᗩᒪ STᗩᗷIᒪITY, ᑕᗩᑌSIᑎG Tᕼᕮᗰ TO ᗷᕮᑕOᗰᕮ ᕮ᙭TᖇᕮᗰᕮᒪY ᐯIOᒪᕮᑎT, ᗩᑎᗪ GᖇᗩᑎTIᑎG Tᕼᕮᗰ IᗰᗰᕮᑎSᕮ STᖇᕮᑎGTᕼ, ᗩGIᒪITY GIᐯIᑎG Tᕼᕮᗰ Tᕼᕮ ᗩᗷIᒪITY TO ᕮᐯᕮᑎ ᒍᑌᗰᑭ ᗩᑕᖇOSS ᗩᑎ ᕮᑎTIᖇᕮ ᖇOOᗰ- ᗩᑎᗪ ᗯITᕼ Tᕼᕮ ᕼᕮᒪᑭ Oᖴ ᑭOᗯᕮᖇᖴᑌᒪ ᑭᒪᗩSᗰIᗪS, Tᕼᕮ ᗷIG SISTᕮᖇS ᗩᖇᕮ Iᑎᗪᕮᕮᗪ, ᖴOᖇᗰIᗪᗩᗷᒪᕮ ᕮᑎᕮᗰIᕮS. ᗯITᕼ Tᕼᕮ ᗩᑭᑭᕮᗩᖇᗩᑎᑕᕮ Oᖴ TᕼIᑎ, ᖴᕮᗰIᑎIᑎᕮ ᐯᕮᖇSIOᑎS Oᖴ ᗷIG ᗪᗩᗪᗪIᕮS; ᕮᗩᑕᕼ ᗷIG SISTᕮᖇ ᑭOSSᕮSSᕮS SIᗰIᒪᗩᖇ ᒪOOKIᑎG ᗪIᐯIᑎG SᑌITS ᗩᑎᗪ ᕮᑫᑌIᑭᗰᕮᑎT, ᗩᑎᗪ ᗩᒪSO ᕼᗩᐯᕮ ᑕᗩGᕮS Oᑎ TᕼᕮIᖇ ᗷᗩᑕKS ᗯᕼIᑕᕼ ᑕᗩᑎ ᗷᕮ ᑌSᕮᗪ TO ᑕᗩᖇᖇY ᒪITTᒪᕮ SISTᕮᖇS. Iᖴ ᗩT ᗩᑎY GIᐯᕮᑎ TIᗰᕮ SOᗰᕮOᑎᕮ IᑎᑕᑌᖇS ᗩ ᗷIG SISTᕮᖇ'S ᗯᖇᗩTᕼ, Tᕼᕮ ᖇᕮᗪ ᑭOᖇTᕼOᒪᕮ Oᑎ Tᕼᕮ ᖴᖇOᑎT Oᖴ ᕼᕮᖇ ᕼᕮᒪᗰᕮT ᗯIᒪᒪ GᒪOᗯ, ᗩᑎᗪ Tᕼᕮ ᗷIG SISTᕮᖇ ᗯIᒪᒪ ᒪᗩᑌᑎᑕᕼ ᕼᕮᖇ ᗩTTᗩᑕK. ᕮᗩᑕᕼ ᗷIG SISTᕮᖇ ᕼᗩS ᗩ ᒪᗩᖇGᕮ ᗩᗪᗩᗰ ᑎᕮᕮᗪᒪᕮ Oᑎ ᕼᕮᖇ ᒪᕮᖴT ᗩᖇᗰ ᗯᕼIᑕᕼ IS ᑌSᕮᗪ ᖴOᖇ ᑭᖇᕮᑕISIOᑎ ᗰᕮᒪᕮᕮ ᗩTTᗩᑕKS, ᗩᑎᗪ TO ᗪᖇᗩIᑎ ᗩᗪᗩᗰ ᖴᖇOᗰ ᒪIᐯᕮ ᐯIᑕTIᗰS, ᗩᒪᒪOᗯIᑎG ᕼᕮᖇ TO ᕼᕮᗩᒪ TᕼᖇOᑌGᕼOᑌT Tᕼᕮ ᗷᗩTTᒪᕮ.

ᖴOᖇ ᗰOᖇᕮ IᑎᖴOᖇᗰᗩTIOᑎ Oᑎ TᕼᕮSᕮ ᗷIG SISTᕮᖇS, ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO Sᕮᗩᖇᑕᕼ TᕼᖇOᑌGᕼ Tᕼᕮ ᕼIᗪᕮᖇ ᗷᕮᒪOᗯ- TᕼOᑌGᕼ ᗷᕮ Sᑌᖇᕮ TO Kᕮᕮᑭ ᗩᑎ ᕮYᕮ OᑌT; ᖴOᖇ Tᕼᕮ ᒪISTS ᗯIᒪᒪ ᗩᒪᗯᗩYS ᑕOᑎTIᑎᑌᕮ TO GᖇOᗯ...




⥼ SᑭᒪIᑕᕮᖇS ⥽

ᗪᕮᖴOᖇᗰᕮᗪ, GᕮᑎᕮTIᑕᗩᒪᒪY ᗰOᗪIᖴIᕮᗪ ᖇᗩᑭTᑌᖇᕮ ᑕITIᘔᕮᑎS ᗯᕼO ᗩᖇᕮ ᖇᕮᗰᑎᗩᑎTS Oᖴ Tᕼᕮ ᖇᗩᑭTᑌᖇᕮ ᑕIᐯIᒪ ᗯᗩᖇ, Tᕼᕮ SᑭᒪIᑕᕮᖇS (ᗩᒪSO KᑎOᗯᑎ ᗩS ᗩGGᖇᕮSSOᖇS) ᑕᗩᑎᑎOT SᑌᖇᐯIᐯᕮ ᗯITᕼOᑌT ᗩᗪᗩᗰ ᗪᑌᕮ TO TᕼᕮIᖇ ᕮ᙭TᕮᑎSIᐯᕮ Oᐯᕮᖇ-SᑭᒪIᑕIᑎG ᗩᑎᗪ ᗷIOᒪOGIᑕᗩᒪ ᗰOᗪIᖴIᑕᗩTIOᑎS. SᑭᒪIᑕᕮᖇS ᗩᖇᕮ ᖇᕮᖴᕮᖇᖇᕮᗪ TO ᗩᑕᑕOᖇᗪIᑎG TO TᕼᕮIᖇ ᗯᕮᗩᑭOᑎ ᑭᖇᕮᖴᕮᖇᕮᑎᑕᕮ, Sᑌᑕᕼ ᗩS "ᒪᕮᗩᗪᕼᕮᗩᗪ" ᖴOᖇ TᕼOSᕮ ᗯᕼO ᗯIᕮᒪᗪ GᑌᑎS. TᕼᕮY ᗯᕮᗩᖇ ᒪITTᒪᕮ Oᖇ ᑎO ᗩᖇᗰOᖇ, ᗩᑎᗪ ᑎOᖇᗰᗩᒪᒪY ᖇOᗩᗰ Tᕼᕮ ᑕITY Oᖴ ᖇᗩᑭTᑌᖇᕮ SᕮᗩᖇᑕᕼIᑎG ᖴOᖇ OTᕼᕮᖇ IᑎᕼᗩᗷITᗩᑎTS TO KIᒪᒪ ᗩᑎᗪ STᕮᗩᒪ ᗩᗪᗩᗰ ᖴᖇOᗰ. ᗩS TᕼᕮIᖇ ᑎᗩᗰᕮ ᗯOᑌᒪᗪ SᑌGGᕮST, TᕼᕮSᕮ ᕮᑎᕮᗰIᕮS ᗩᖇᕮ ᗩGGᖇᕮSSIᐯᕮ ᗩᑎᗪ ᑫᑌIᑕK TO ᗩTTᗩᑕK, ᗩᑎᗪ TᕼᕮY ᗯIᒪᒪ ᑌSᕮ TᕼᕮIᖇ ᕮᑎᕼᗩᑎᑕᕮᗪ ᑭᕼYSIᑕᗩᒪ STᖇᕮᑎGTᕼ, GᖇOᑌᑭ TᗩᑕTIᑕS, ᗩᑎᗪ SOᗰᕮTIᗰᕮS SᕮᗰI-ᗷIOᒪOGIᑕᗩᒪ ᗯᕮᗩᑭOᑎS TO KIᒪᒪ ᗩᒪᒪ IᑎTᖇᑌᗪᕮᖇS. ᗰOST SᑭᒪIᑕᕮᖇS ᗯᕮᗩᖇ Tᕼᕮ ᗰᗩSᑫᑌᕮᖇᗩᗪᕮ ᗷᗩᒪᒪ ᗰᗩSKS TᕼᗩT ᗯᕮᖇᕮ ᗯOᖇᑎ ᗪᑌᖇIᑎG Tᕼᕮ 1958 ᑎᕮᗯ Yᕮᗩᖇ'S ᕮᐯᕮ ᖇIOTS.

SO ᖴᗩᖇ, Tᕼᕮᖇᕮ ᗩᖇᕮ SI᙭ ᗰᗩIᑎ TYᑭᕮS Oᖴ SᑭᒪIᑕᕮᖇS.

ᖴOᖇ ᗰOᖇᕮ IᑎᖴOᖇᗰᗩTIOᑎ Oᑎ TᕼᕮSᕮ SᑭᒪIᑕᕮᖇS, ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO Sᕮᗩᖇᑕᕼ TᕼᖇOᑌGᕼ Tᕼᕮ ᕼIᗪᕮᖇ ᗷᕮᒪOᗯ- TᕼOᑌGᕼ ᗷᕮ Sᑌᖇᕮ TO Kᕮᕮᑭ ᗩᑎ ᕮYᕮ OᑌT; ᖴOᖇ Tᕼᕮ ᒪISTS ᗯIᒪᒪ ᗩᒪᗯᗩYS ᑕOᑎTIᑎᑌᕮ TO GᖇOᗯ...






⥼ ᑕᕼᗩᖇᗩᑕTᕮᖇ IᑎᖴOᖇᗰᗩTIOᑎ ⥽

ᗯITᕼIᑎ TᕼIS ᖇOᒪᕮᑭᒪᗩY ᗯᕮ ᗯIᒪᒪ ᗷᕮ ᗩᑕᑕᕮᑭTIᑎG OᖇIGIᑎᗩᒪ ᑕᕼᗩᖇᗩᑕTᕮᖇS (Oᑕ) OᑎᒪY, ᕼOᗯᕮᐯᕮᖇ, TᕼᖇOᑌGᕼOᑌT Tᕼᕮ ᖇOᒪᕮᑭᒪᗩY ᑕᗩᑎᑎOᑎ ᑕᕼᗩᖇᗩᑕTᕮᖇS TᕼᗩT ᕼᗩᐯᕮ ᗩᒪᖇᕮᗩᗪY ᗷᕮᕮᑎ ᑭᖇᕮ-ᕮSTᗩᗷᒪISᕼᕮᗪ TᕼᖇOᑌGᕼOᑌT Tᕼᕮ SᕮᖇIᕮS Oᖴ ᗷIOSᕼOᑕK ᗯIᒪᒪ ᗷᕮ ᗩᐯᗩIᒪᗩᗷᒪᕮ ᖴOᖇ ᖇOᒪᕮᑭᒪᗩYᕮᖇS TO TᗩKᕮ Oᑎ; ᑕᕼᗩᖇᗩᑕTᕮᖇS ᗩᖇᕮ STᖇIᑕTᒪY ᒪIᗰITᕮᗪ TO ᗷᕮIᑎG ᕼᑌᗰᗩᑎ, TᕼOᑌGᕼ ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO ᕼᗩᐯᕮ ᖇᕮIGᑎ Oᐯᕮᖇ ᗯᕼᗩT IT IS YOᑌ ᗯOᑌᒪᗪ ᒪIKᕮ YOᑌᖇ ᑕᕼᗩᖇᗩᑕTᕮᖇ TO ᗷᕮ ᒪIKᕮ- ᑭᒪᕮᗩSᕮ ᖴᕮᕮᒪ ᖴᖇᕮᕮ TO ᑕOᑎTᗩᑕT ᕮITᕼᕮᖇ ᗰᕮ, Oᖇ Oᑎᕮ Oᖴ ᗰY ᑕO-Gᗰ’S ᐯIᗩ ᑭᗰ Oᖇ Iᑎ Tᕼᕮ OOᑕ SᕼOᑌᒪᗪ YOᑌ ᕼᗩᐯᕮ ᗩᑎY ᑫᑌᕮSTIOᑎS, ᗯᕮ ᗯIᒪᒪ ᗪO Oᑌᖇ ᗷᕮST TO GIᐯᕮ YOᑌ Tᕼᕮ ᗩᑎSᗯᕮᖇS, ᗩᑎᗪ TO ᕼᕮᒪᑭ YOᑌ OᑌT ᗩS ᗰᑌᑕᕼ ᗩS ᗯᕮ ᑕᗩᑎ.

ᖴOᖇ TᕼOSᕮ Oᖴ ᗯᕼOᗰ ᗩᖇᕮ ᗯISᕼIᑎG TO ᑭᒪᗩY ᑕᗩᑎᑎOᑎ ᑕᕼᗩᖇᗩᑕTᕮᖇS ᒪᗩTᕮᖇ ᗪOᗯᑎ Tᕼᕮ ᒪIᑎᕮ, YOᑌ ᗰᑌST ᗪᕮᗰOᑎSTᖇᗩTᕮ ᗩ STᖇOᑎG ᗯᖇITIᑎG ᗩᗷIᒪITY (GOOᗪ Gᖇᗩᗰᗰᗩᖇ, ᑭᑌᑎᑕTᑌᗩTIOᑎ, ᕮTᑕ.), ᗩᑎᗪ ᗰᑌST ᑭᒪᕮᗩSᕮ ᗰᕮSSᗩGᕮ ᗰᕮ ᗩᑎᗪ ᗰY ᑕO-Gᗰ’S ᗯITᕼ ᗩ Sᗩᗰᑭᒪᕮ ᑭOST ᗩᑎᗪ ᗩ ᗷᖇIᕮᖴ STOᖇY ᑭᒪᗩᑎ (ᖇᕮᒪᗩTIᑎG TO Tᕼᕮ ᖇOᒪᕮᑭᒪᗩY) Oᖴ TᕼᗩT ᑭᗩᖇTIᑕᑌᒪᗩᖇ ᑕᕼᗩᖇᗩᑕTᕮᖇ ᖴOᖇ ᑕOᑎSIᗪᕮᖇᗩTIOᑎ; Iᖴ Tᕼᕮ ᑕᕼᗩᖇᗩᑕTᕮᖇ ᗩᑎᗪ Sᗩᗰᑭᒪᕮ ᕼᗩS ᗷᕮᕮᑎ ᗩᑕᑕᕮᑭTᕮᗪ, Tᕼᕮᑎ YOᑌ Sᕼᗩᒪᒪ Iᑎᗪᕮᕮᗪ ᗷᕮ ᑎOTIᖴIᕮᗪ ᗩS SOOᑎ ᗩS ᑭOSSIᗷᒪᕮ.

ᗩT TᕼIS ᑭOIᑎT Iᑎ TIᗰᕮ, I ᗯIᒪᒪ ᗷᕮ ᑭᑌTTIᑎG ᗩ ᒪIᗰIT Oᑎ ᑕᕼᗩᖇᗩᑕTᕮᖇS; ᕼOᗯᕮᐯᕮᖇ, ᗩT ᗩ ᒪᗩTᕮᖇ ᗪᗩTᕮ, TᕼIS ᗰᗩY ᑕᕼᗩᑎGᕮ- ᒍᑌST ᑭᒪᕮᗩSᕮ KᑎOᗯ TᕼᗩT Iᖴ, ᗩᑎᗪ/ Oᖇ ᗯᕼᕮᑎ TᕼIS TIᗰᕮ ᗪOᕮS ᑕOᗰᕮ TᕼᗩT I ᖇᕮᗰOᐯᕮ Tᕼᕮ ᒪIᗰIT, I ᗯIᒪᒪ ᑎOTIᖴY YOᑌ ᗩᒪᒪ ᗯITᕼIᑎ Tᕼᕮ OOᑕ. ᗩT TᕼIS STᗩGᕮ ᗯᕮ ᗩᖇᕮ ᗩᑕᑕᕮᑭTIᑎG ᗩᒪᒪ ᕼᑌᗰᗩᑎS ᖴᖇOᗰ ᗩᖇOᑌᑎᗪ Tᕼᕮ ᗯOᖇᒪᗪ- ᒪᕮT YOᑌᖇ IᗰᗩGIᑎᗩTIOᑎS ᑕOᗰᕮ TO ᒪIᖴᕮ, ᗩᑎᗪ ᕼᗩᐯᕮ ᖴᑌᑎ ᗯᕼᕮᑎ ᑕᖇᕮᗩTIᑎG YOᑌᖇ ᑕᕼᗩᖇᗩᑕTᕮᖇS; ᗩᑎᗪ ᗪOᑎ’T ᗷᕮ ᗩᖴᖇᗩIᗪ TO ᕮᑎTᗯIᑎᕮ TᕼᕮIᖇ STOᖇIᕮS ᗯITᕼ Tᕼᕮ STOᖇIᕮS Oᖴ OTᕼᕮᖇS... ᗯITᕼ ᑭᕮᖇᗰISSIOᑎ ᖴᖇOᗰ TᕼᗩT ᖇOᒪᕮᑭᒪᗩYᕮᖇ Oᖴ ᑕOᑌᖇSᕮ.




ᑭᒪᕮᗩSᕮ ᑎOTᕮ: ᗯᕼᕮᑎ IT ᑕOᗰᕮS TO ᑕᕼᗩᖇᗩᑕTᕮᖇ ᗩᑭᑭᕮᗩᖇᗩᑎᑕᕮS; ᑭᒪᕮᗩSᕮ... ᑭᒪᕮᗩSᕮ TᖇY TO ᑌSᕮ ᗩᑕTᑌᗩᒪ ᑭᕮOᑭᒪᕮ ᖴOᖇ YOᑌᖇ ᖴᗩᑕᕮ-ᑕᒪᗩIᗰS, ᗩᑎᗪ ᑎOT ᗪᖇᗩᗯᑎ Oᖇ ᗩᑎIᗰᕮ ᑭIᑕTᑌᖇᕮS- ᗩS YOᑌᖇ Gᗰ, TᕼIS TᕮᑎᗪS TO ᗷᕮ ᗩ ᑭᕮT-ᑭᕮᕮᐯᕮ Oᖴ ᗰIᑎᕮ, ᗩᑎᗪ I ᗯOᑌᒪᗪ ᖇᕮᗩᒪᒪY ᗩᑭᑭᖇᕮᑕIᗩTᕮ IT. ᑭᒪᕮᗩSᕮ ᑭOST ᗩᒪᒪ ᑕOᗰᑭᒪᕮTᕮᗪ ᑕS'S Iᑎ Tᕼᕮ OOᑕ ᖴOᖇ ᑕOᑎSIᗪᕮᖇᗩTIOᑎ, ᗩᑎᗪ Oᑎᑕᕮ TᕼᕮY ᕼᗩᐯᕮ ᗷᕮᕮᑎ ᗩᑕᑕᕮᑭTᕮᗪ, I Sᕼᗩᒪᒪ ᑭᕮᖇSOᑎᗩᒪᒪY ᑭᑌT Tᕼᕮᗰ Iᑎ Tᕼᕮ ᑕᕼᗩᖇᗩᑕTᕮᖇ Tᗩᗷ. Iᑎ ᗩᗪᐯᗩᑎᑕᕮ, I TᕼᗩᑎK YOᑌ ᗩᒪᒪ ᖴOᖇ YOᑌᖇ ᑕO-OᑭᕮᖇᗩTIOᑎ.

⥼ ᑕᕼᗩᖇᗩᑕTᕮᖇ SᕼᕮᕮT ᕮ᙭ᗩᗰᑭᒪᕮ ⥽


So... this interest check lit up pretty quickly x'D

Because we already have six people; I shall pop up an OOC, and put my CS up for you guys to work off layout wise if you want :'3
Hahaha; that's so amusing that I might actually have to have that happen just for the hell of it xD
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