Wednesday, November 22, 2023

Sarah Silverman Hits Hindrance in man-made intelligence Copyright Encroachment Claim Against Meta

 

The decision expands upon discoveries from another government judge directing a claim against man-made intelligence craftsmanship generators, who correspondingly conveyed a catastrophe for major conflicts from offended parties for the situation.

A government judge has excused a large portion of Sarah Silverman's claim against Meta over the unapproved utilization of writers' protected books to prepare its generative man-made brainpower model, denoting the second decision from a court favoring artificial intelligence firms on original protected innovation questions introduced in the fight in court.

 

U.S. Region Judge Vince Chhabria on Monday offered a full-throated disavowal of one of the creators' center speculations that Meta's computer-based intelligence framework is itself an encroaching subsidiary work made conceivable simply by data extricated from protected material. "This is absurd," he wrote in the request. "It is impossible to comprehend the LLaMA models themselves as a reevaluating or transformation of any of the offended parties' books."

One more of Silverman's contentions that each outcome delivered by Meta's simulated intelligence instruments comprises copyright encroachment was excused because she didn't offer proof that any of the results "could be perceived as reworking, changing, or adjusting the offended parties' books." Chhabria allowed her legal counselors an opportunity to replead the case, alongside five others that weren't permitted to progress.

 

Outstandingly, Meta didn't move to excuse the charge that the duplicating of books for reasons for preparing its artificial intelligence model ascents to the degree of copyright encroachment.

 

The decision expands upon discoveries from another government judge supervising a claim from specialists suing man-made intelligence workmanship generators over the utilization of billions of pictures downloaded from the Web as preparing information. All things considered; U.S. Region Judge William Orrick comparably conveyed a disaster for major disputes in the claim by addressing whether craftsmen can validate copyright encroachment without indistinguishable material made by the artificial intelligence devices. He referred to the charges as "deficient in various regards."

 

A portion of the issues introduced in the case could conclude whether makers are made up for the utilization of their material to prepare human-emulating chatbots that can undermine their work. Computer-based intelligence organizations keep up with that they don't need to get licenses since they're safeguarded by fair use protection against copyright encroachment.

 

As per the grievance recorded in July, Meta's artificial intelligence model "duplicates each piece of text in the preparation dataset" and afterward "dynamically changes its result to all the more intently look like" articulation extricated from the preparation dataset. The claim rotated around the case that the whole reason for LLaMA is to mimic protected articulation and that the whole model ought to be viewed as an encroaching subsidiary work.

Yet, Chhabria referred to the contention as "not reasonable" in that frame of mind of claims or proof recommending that LLaMA, short for Enormous Language Model Meta computer-based intelligence, has been "recast, changed, or adjusted" in light of a prior, protected work.

 

One more of Silverman's fundamental speculations — alongside different makers suing simulated intelligence firms - was that each result delivered by man-made intelligence models is encroaching subsidiaries, with the organizations profiting from each answer started by outsider clients supposedly comprising a demonstration of vicarious encroachment. The adjudicator presumed that her attorneys, who additionally address the craftsmen suing Dependability computer-based intelligence, DeviantArt, and Mid-venture, are "inappropriate to say that" — because their books were copied in full as a component of the LLaMA preparing process — proof of considerably comparative results isn't required.

 

"To persuade a hypothesis that LLaMA's results comprise subordinate encroachment, the offended parties would for sure have to claim and eventually demonstrate that the results 'consolidate in some structure a piece of' the offended parties' books," Chhabria composed. His thinking reflected that of Orrick, who found in the suit against Strength man-made intelligence that the "claimed infringer's subsidiary work should, in any case, bear a comparability to the first work or contain the safeguarded components of the first work."

 

This implies that offended parties across most cases should introduce proof of encroaching works delivered by artificial intelligence devices that are indistinguishable from their protected material. This possibly presents a significant issue since they have yielded in certain occurrences that the results are not generally liable to be a nearby match to the material utilized in the preparation information. Under intellectual property regulation, a trial of significant similitude is utilized to survey the level of likeness to decide if encroachment has happened.

 


Other excused claims in Chhabria's organization incorporate those over vile improvement and infringement of rivalry regulations. To the degree they're founded on the enduring case for copyright encroachment, he observed that they're seized.

 

Meta didn't quickly answer a solicitation for input.

In July, Silverman likewise joined a class activity against OpenAI blaming the organization for copyright encroachment. The case has been combined with different suits from creators in government court.

The £5 Billion Claim Against Sony Advances as Court Greenlights Preliminary

 

In an improvement coming from an August 2022 disclosure, buyer privileges advocate Alex Neill has been conceded the potential chance to continue with a £5 billion (roughly $6.7 billion) claim against Sony. Neill affirms that the tech monster has reliably cheated for computerized content on its PlayStation Store, taking advantage of its market predominance.

 

Back in August 2022, Neill stated, "The activities of Sony are costing a large number of individuals who can't manage the cost of it, especially when we're amid a typical cost for many everyday items emergency and the customer handbag is being pressed more than ever." Presently, over a year after the fact, the UK's Opposition Allure Council has decided to permit the claim to go to preliminary, convincing Sony to mount a legitimate safeguard. Notwithstanding Sony's previous endeavors to have the claim excused prudently, the court's choice denotes a significant step in the right direction for the petitioners.




 

In a new public statement, Neill expressed, "This is the most vital phase in guaranteeing customers get back what they're owed because of Sony overstepping the law. PlayStation gamers' unwaveringness has been exploited by Sony who have been charging them exorbitant costs for a long time."

 

One contention against Neill's case battles that Sony isn't extraordinary in taking a 30% portion of deals from its computerized retail facade, a training accepted to add to the apparent "over the top" costs on the PS Store. Both Microsoft and Nintendo follow a comparative model in their separate control center commercial centers. Nonetheless, this contention didn't stop the claim from progressing explicitly against Sony.

 

The claim addresses people who made buys through the PS Store between August 19, 2019, and August 19, 2022, except if they decide to quit. On the off chance that fruitful, Neill's claim could bring about impacted purchasers getting assessed harms going from £67 to £562, in addition to intrigue.

 

It is pivotal to take note that judicial actions of this nature seldom finish up quickly. The goal of this case is expected to traverse quite a long while, highlighting the probability of the issue continuing to happen behind the scenes for a drawn-out period. As customers anticipate the result, the consequences of this fight in court could have enduring ramifications on the evaluating rehearses inside the computerized content market.

Friday, November 10, 2023

Unloading the Sympathetic Computer-based Intelligence Pin: A Combination of Desire and Quirk

 



The tech world is buzzing with expectation as the Compassionate computer-based intelligence Pin becomes the overwhelming focus, introducing itself as an extraordinary blend of Google Glass and a 1990s pager. Estimated at a significant $700, this gadget intends to upset how we cooperate with innovation, strikingly professing to supplant conventional cell phones. In this definite examination, we will dive into the elements, functionalities, and possible ramifications of the Sympathetic computer-based intelligence Pin.

Plan and Equipment:

The Compassionate man-made intelligence Pin's plan is downright interesting, looking like a crossbreed between the now-notable Google Glass and the utilitarian pager from a former time. The gadget capabilities as a voice colleague, furnished with a mouthpiece and speaker. Not at all like partners who depend consistently on listening capacities, the Compassionate man-made intelligence Pin requires clients to press a button, guaranteeing that voice orders are deliberate.

Adding a layer of intricacy, the consideration of a camera is significant. Situated at chest level through an attractive back piece, clients might end up in the one-of-a-kind place of pointing a camera at others during cooperation. This plan decision brings up issues about security and social adequacy, as it challenges regular standards regarding individual space and reconnaissance.

The case of being "screenless" is a fascinating oddity, as the gadget integrates a 720p laser projection framework. This framework extends a monochrome screen onto the client's hand, making a smartwatch-like point of interaction. This inventive component acquaints a material component with the connection, permitting clients to draw in with essential UI components through hand signals, like tapping fingers together.

Usefulness and Client Association:

The Empathetic computer-based intelligence Pin, regardless of its cutting edge desires, makes a stride back by not supporting outsider applications. This takeoff from the overall pattern in the tech business raises worries about the gadget's versatility and client advance. The firm position, as underlined in the show, is unequivocal: "We don't do applications. Clients are bound to the elements and administrations coordinated into the Android-based "Universe" operating system, restricting their capacity to alter and extend usefulness.

While the gadget professes to supplant cell phones, its restricted application support harkens back to a period before the application environment became basic to the client experience. The possible implications of this choice are huge, as clients are limited to the contributions of Others and can't investigate the different scenes of outsider applications.

The decision of Flowing as the restrictive music playback administration further limits client choices, as this helps holds an insignificant piece of the pie. The association choices made by Empathetic bring up issues about their technique and whether the restricted decisions are a purposeful way to deal with curating a particular client experience or a likely oversight in taking care of a more extensive crowd.

Outsider Combination:

The Empathetic Artificial Intelligence Pin's position on outsider coordination stays hazy, regardless of the incorporation of logos for Slack, Microsoft, and Google on the "Universe" page. While these logos propose expected joint efforts, the nature and degree of outsider functionalities are not unequivocally definite. The equivocalness encompassing outsider mixes leaves clients in anticipation, uncertain of the gadget's similarity with well-known administrations and stages.

Protection Concerns:

The fuse of a camera in a gadget planned to be worn at chest level raises real protection concerns. Clients may inadvertently catch pictures or recordings of others during regular connections, possibly encroaching on security standards. The moral ramifications of this plan's decision need cautious thought, as it challenges cultural assumptions about private space and assent.



End:


The Empathetic Simulated Intelligence Pin arises as an interesting yet perplexing expansion to the scene of cutting-edge equipment. Its plan decisions, from the combination of Google Glass and pager to the deliberate evasion of outsider applications, put it aside in a tech industry overwhelmed by cell phones and flexible application biological systems.

While the gadget presents creative highlights, for example, the laser projection framework and hand motion connections, inquiries regarding reasonableness, client acknowledgment, and protection continue. The Sympathetic man-made intelligence Pin's prosperity might rely on its capacity to find some kind of harmony between aggressive mechanical progressions and the commonsense contemplations of day-to-day existence.

As the tech world watches with expectation, the Accommodating computer-based intelligence Pin welcomes examination and interest. Just time will uncover whether this particular posterity of innovation will cut its specialty or blur into the archives of aggressive yet unfeasible developments.

 

Recently recognized species could reveal insight into the advancement of ancient 'ocean beasts'

 A gigantic ocean snake from Norse legend that was fathered by the comedian god Loki and became sufficiently large to circle the globe is presently the namesake for an alternate sort of "beast" — a newfound type of enormous, meat-eating marine reptile known as a mosasaur, which lived around a long time back.

Scientists as of late portrayed the beforehand obscure mosasaur from fossils tracked down close to the North Dakota town of Walhalla. The town's name comes from Valhalla, the devouring lobby of Norse folklore where dead legends accumulate, so the researchers named the mosasaur Jormungandr walhallaensis. Its name references Norse fantasies of Jǫrmungandr, the Midgard Snake, as well as the site of the fossil's revelation, the specialists detailed Monday in the diary Notice of the American Exhibition Hall of Normal History.

The actual fossil has a fairly less idyllic name: NDGS 10838. It incorporates a close total skull with a hard edge over the eyes as well as jaws and a few skeletal parts, including 11 ribs and 12 vertebrae. Throughout everyday life, the creature would have been estimated around 24 feet (7.3 meters) long and had a brooding look slimmer than those of its mosasaur cousins, said lead concentrate on creator Amelia Zietlow, a scientist and doctoral up-and-comer at the American Gallery of Normal History's Richard Gilder Graduate School in New York City.

By and large, Jormungandr walhallaensis looked like most mosasaurs — "similar to if you took a Komodo mythical beast, made it 30 feet in length, and gave it flippers and a shark tail," Zietlow told CNN.

However, in alternate ways, the creature was unique. A blend of highlights during the bones of its skull made it suddenly moving for the researchers to order the newbie and indicated that the mosasaur bunch incorporates surprisingly different structures, the review creators revealed.

An uncommon example

The fossil was gathered in 2015 by the North Dakota Land Overview, a state office devoted to geography and government-funded schooling about minerals and fossils. Zietlow said, NDGS 10838 was found in a slope by somebody who had taken part in one of the organization's projects, and who was in this way ready to perceive the item as a fossil and knew to caution office authorities.

At the point when the researchers inspected the skull, they immediately acknowledged they had something surprising on their hands. Its fairly rectangular ear bones looked like those of Mosasaurus, the sort of mosasaur goliaths. Be that as it may, the shape and large number of its teeth were a nearer match to a class of more modest mosasaurs: Clidastes. In the meantime, the point and number of teeth on a hard sense of taste at the top of its mouth were not normal for anything seen in both of those two mosasaur gatherings.

"He has highlights that thoroughly search somehow or another like Mosasaurus, somehow or another like Clidastes. And afterward, in alternate ways, they're special to this individual," Zietlow said. This blend of characteristics persuaded the specialists that what they were taking a gander at was another variety and species.

In any case, fossilization frequently misshapes bone, and it's conceivable that peculiarities in the fossil were molded by regular cycles after the creature's demise, said scientist Takuya Konishi, an academic administrator in the branch of organic sciences at the College of Cincinnati. (The creators recognized this chance; their review incorporates admired outlines of the unblemished skull showing what it might have resembled before it fossilized.)

At the point when the specialists investigated the information, their developmental tree showed a result called a polytomy — "when a lot of various animals types sort of obscure together into a solitary spot" — with Jormungandr walhallaensis and Clidastes, Zietlow said. "They're nearer to one another than they are to whatever else. Yet, inside that gathering of things, it's not exactly certain how they're connected."

Extra fossils of the newly discovered species could help adjust Jormungandr walhallaensis' situation on the mosasaur genealogical record, said Konishi, who studies mosasaur development and was not associated with the review.

"Exactly how particular J. walhallaensis is from Clidastes still can't seem to be explored further," Konishi told CNN in an email. "Future disclosures might incline toward an elective speculation that it is another type of Clidastes."

Other uncommon subtleties in the fossil are penetrates and scratches scarring the vertebrae; the scientists recognized these as indentations. The imprints don't seem to have mended, recommending that they occurred close to the furthest limit of the creature's life or were crafted by a forager that tore the mosasaur separated after it was dead.

"This may be the reason we don't have the remainder of the skeleton," Zietlow said.

Further inquiries regarding what leaving the imprints — and whether it was an assault that Jormungandr walhallaensis made do — will be tended to in future examination by concentrating on coauthor Clint Boyd, a senior scientist with the North Dakota Geographical Study and a caretaker of the North Dakota State Fossil Assortment, Zietlow said.

Mosasaurs and developmental puzzles

Mosasaurs were a different gathering of dominant hunters that swam the world's seas during the last option part of the Cretaceous Time frame, around 98 million to quite a while back. They lived close to dinosaurs yet are all the more firmly connected with present-day reptiles and snakes.

Some mosasaurs were estimated only a couple of feet long, while the biggest — in the variety Mosasaurus — was almost 60 feet (18.2 meters) long and keeping in mind that mosasaur fossils are moderately copious, researchers "have quite recently just started to expose the 'genuine' mosasaur variety," Konishi said. New mosasaur examples, for example, NDGS 10838, assist specialists with disentangling "the rich transformative history of these somewhat charming dominant hunters of the Cretaceous oceans," he said.

With that in mind, the new review makes a huge commitment by providing "rich physical detail recorded by an entirely capable mosasaur specialist, Ms. Zietlow," he added.

"The creators gave an extremely exhaustive and cautious osteological portrayal of the new example," making a mother lode of uncommon information, Konishi said.

However, mosasaurs were amphibian, their precursors lived ashore and afterward developed to get back to the ocean. They weren't the main creature gathering to do as such; many sorts of reptiles and vertebrates — including plesiosaurs, whales, ocean turtles, and seals — adjusted to sea life from earthbound precursors, long after their much more far-off tetrapod progenitors left the oceans for land. What's more, mosasaurs are a significant creature bunch for concentrating on this change because their fossils are so plentiful, Zietlow said.

"There are a ton of them, in a real sense huge number of examples in the US alone," she said. "That makes them great for concentrating on 10,000-foot view, factual sort developmental inquiries."

Regardless of the ample pool of examples, numerous mosasaur fossils were not archived as comprehensively as Jormungandr walhallaensis was (and now and again, were scarcely shown at all when they were first portrayed, Zietlow said).

Tending to this disparity in newly discovered fossils — and returning to known examples — will have a major impact in assisting researchers with tackling these developmental puzzles.

"I invested a great deal of energy assembling these figures, showing the bones in each view and showing the little protuberances in general and knocks and things, so future individuals can take a gander at these figures and perceive the life systems and afterward apply that to making new characters and spotting new contrasts between this creature and different creatures," Zietlow said. "That simply helps everybody by and large to comprehend the life structures of these things somewhat better."



Wednesday, November 8, 2023

Rockstar might report Amazing Burglary Auto VI this week

 

We might get official insights concerning Fabulous Robbery Auto VI, soon assuming that Bloomberg's report ends up being valid. Rockstar Games intends to declare the following section in the GTA establishment as soon as this week, as per the news association. Besides, Rockstar is supposedly distributing a trailer for the game one month from now as a component of its 25th commemoration festivity. It's one of the most expected games for the ongoing yield of the control center, particularly since the fifth primary portion in the series — the second-smash hit computer game ever, as Bloomberg notes — came out way back in 2013.

 

While Rockstar still can't seem to send off the title, a few fans might have previously gotten a brief look at early-day interactivity film because of a release that a programmer transferred online in 2022. It contained 90 seconds of ongoing interaction from a GTA VI test fabrication, showing one of the two playable heroes, a female person named Lucia, looting a store. Another clasp showed the other playable person riding the "Bad Habit City Metro," demonstrating that its story happens in Rockstar's fictionalized rendition of Miami. The engineer later affirmed the items in the release and said that the game's creation would proceed "as expected."

 

Rockstar will probably uncover GTA VI's delivery period when it reports the game, however its parent organization Take-Two recently implied that it's coming out at some point in 2024.

 

Tuesday, November 7, 2023

āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻŦ্āϰাāĻĻাāϰ্āϏ। āĻ“āϝ়াāύ্āĻĄাāϰ āωāϞ্āϞেāĻ–āϝোāĻ—্āϝ āĻĄিāϞ āϏ্āϟ্āϝাāύ্āĻĄাāϰ্āĻĄ āϏ্āĻĨাāĻĒāύ āĻ•āϰে

 

āύিāύ্āϟেāύ্āĻĄোāϰ āĻ•ুāĻ–্āϝাāϤ āĻš্āϝাāύ্āĻĄāĻŽ্āϝাāύ, āĻŽাāϰিāĻ“, āĻāϟি āφāϰāĻ“ āĻāĻ•āĻŦাāϰ āĻ•āϰেāĻ›ে, āϰেāĻ•āϰ্āĻĄ āĻ­েāĻ™েāĻ›ে āĻāĻŦং āĻ…āϏাāϧাāϰāĻŖāĻ­াāĻŦে āĻĒ্āϰāϤ্āϝাāĻļিāϤ 2D āĻĒ্āϞ্āϝাāϟāĻĢāϰ্āĻŽাāϰ, āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻŦ্āϰাāĻĻাāϰ্āϏেāϰ āφāĻ—āĻŽāύেāϰ āϏাāĻĨে āϏাāĻŽāĻ—্āϰিāĻ•āĻ­াāĻŦে āϞāĻ•্āώ āϞāĻ•্āώ āĻ—েāĻŽাāϰāĻĻেāϰ āĻšৃāĻĻāϝ় āĻ•েāĻĄ়েāĻ›ে। āφāĻļ্āϚāϰ্āϝ। āĻ—েāĻŽāϟি, āϝেāϟি āύিāύ্āϟেāύ্āĻĄো āϏ্āϝুāχāϚে āĻāϰ āĻĒ্āϰāĻŦāϰ্āϤāύ āĻ•āϰেāĻ›ে āĻ•েāĻŦāϞāĻŽাāϤ্āϰ āĻ—āϤ āĻŽাāϏে, āĻĻুāϰ্āĻĻাāύ্āϤ āĻ…āĻ—্āϰāĻ—āϤি āĻ•āϰেāĻ›ে, āϏāϰ্āĻŦāĻ•াāϞেāϰ "āĻĻ্āϰুāϤ āĻŦিāĻ•্āϰি āĻšāĻ“āϝ়া" āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻ—েāĻŽেāϰ āĻļিāϰোāύাāĻŽ āĻ…āϰ্āϜāύ āĻ•āϰেāĻ›ে।

 

āĻāϰ āĻŦিāĻĻাāϝ়েāϰ āĻāĻ•āϟি āϏাāϧাāϰāĻŖ āϚৌāĻĻ্āĻĻ āĻĻিāύেāϰ āĻŽāϧ্āϝে, āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻŦ্āϰাāĻĻাāϰ্āϏ। āφāĻļ্āϚāϰ্āϝ āĻ•ীāĻ­াāĻŦে āϰ্āϝাāĻ•āĻ—ুāϞি āĻ–ুāϞে āĻĢেāϞāϤে āĻšāϝ় āϤা āĻ–ুঁāϜে āĻŦেāϰ āĻ•āϰে, āϏাāϰা āĻŦিāĻļ্āĻŦে āĻāĻ•āϟি āφāĻļ্āϚāϰ্āϝāϜāύāĻ• 4.3 āĻŽিāϞিāϝ়āύ āϏāĻĻৃāĻļ āĻŦিāĻ•্āϰি āĻ•āϰে৷ āĻāχ āĻ…āϏাāϧাāϰāĻŖ āĻ•ৃāϤিāϤ্āĻŦāϟি āĻļুāϧুāĻŽাāϤ্āϰ āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻ…āĻ­িāϜ্āĻžāϤাāϰ āϏেāϰা āĻĄেāϞিāĻ­াāϰি āĻšিāϏাāĻŦে āĻāϟিāϰ āĻŽāϰ্āϝাāĻĻা āύিāϰ্āϧাāϰāĻŖ āĻ•āϰে āύা āĻŦāϰং āĻāϟিāĻ•ে āϏāϰ্āĻŦāĻ•াāϞেāϰ "āĻĻ্āϰুāϤ āĻŦিāĻ•্āϰি āĻšāĻ“āϝ়া" āϏুāĻĒাāϰ āĻŽাāϰিāĻ“-āϏāĻŽ্āĻĒāϰ্āĻ•িāϤ āĻļিāϰোāύাāĻŽেāϰ āĻļীāϰ্āώে āϰাāĻ–ে।

 

āύিāύ্āϟেāύ্āĻĄোāϰ āφāϰ্āĻĨিāĻ• āĻĒ্āϰāϤিāĻŦেāĻĻāύ, āϝা āϏāĻŽ্āĻĒ্āϰāϤি āĻāχ āĻ…āϤ্āϝাāĻļ্āϚāϰ্āϝ āϏংāĻ–্āϝাāĻ—ুāϞি āĻĒ্āϰāĻ•াāĻļ āĻ•āϰেāĻ›ে, āϤা āĻĻেāĻ–াāϝ় āϝে āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻ—েāĻŽāĻ—ুāϞিāϰ āĻĒ্āϰাāϧাāύ্āϝ āĻĻৃāĻĸ় āĻĨাāĻ•ে। āϏংāϏ্āĻĨাāϟি āĻ…āύুāĻŽাāύ āĻ•āϰে āϝে āĻāχ āϏাāĻŽ্āĻĒ্āϰāϤিāĻ• āϏāĻŽ্āĻĒ্āϰāϏাāϰāĻŖāϟি āφāϏāύ্āύ āĻ•্āϰিāϏāĻŽাāϏ āĻŽāϰāϏুāĻŽে āĻ—্āϰাāĻšāĻ•āĻĻেāϰ āϜāύ্āϝ āĻāĻ•āϟি āĻļীāϰ্āώ āϏিāĻĻ্āϧাāύ্āϤে āĻĨাāĻ•া āωāϚিāϤ āĻāĻŦং āφāĻ—াāĻŽী āĻŦāĻ›āϰ āϧāϰে āϚুāĻ•্āϤিāϤে āϏāĻŽৃāĻĻ্āϧি āĻŦāϜাāϝ় āϰাāĻ–া āωāϚিāϤ।

 

āĻĒ্āϰāϤিāĻŦেāĻĻāύে āĻāĻ•āϟি āϚিāϤ্āϤাāĻ•āϰ্āώāĻ• āύোāϟ āĻšāϞ āϝে āĻĒ্āϰāĻĻāϤ্āϤ āϤāĻĨ্āϝāϟি "Wii āĻāĻŦং Nintendo DS āĻāϰ āĻĒāϰেāϰ" āĻāϰ āϜāύ্āϝ āĻĒ্āϰāĻĻāϤ্āϤ āĻļিāϰোāύাāĻŽেāϰ āϏাāĻĨে āϏ্āĻĒāώ্āϟāĻ­াāĻŦে āϏāĻŽ্āĻĒāϰ্āĻ•িāϤ, āϝাāϰ āĻ…āϰ্āĻĨ āĻāχ āĻĢ্āϰেāĻŽāĻ“āϝ়াāϰ্āĻ•āĻ—ুāϞিāϰ āϏাāĻĨে āĻĒ্āϰোāĻ—্āϰাāĻŽিং āĻŦিāĻ•্āϰāϝ়-āĻāϰ āĻŽাāϧ্āϝāĻŽে āϤāĻĨ্āϝেāϰ āĻ­াāĻŖ্āĻĄাāϰ āĻļুāϰু āĻšāϝ়েāĻ›িāϞ। āĻāϟি āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻŦ্āϰাāĻĻাāϰ্āϏেāϰ āĻĒূāϰ্āĻŦāĻŦāϰ্āϤী āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻļিāϰোāύাāĻŽেāϰ āωāĻĒāϏ্āĻĨাāĻĒāύা āϏāĻŽ্āĻĒāϰ্āĻ•ে āϏāĻŽāϏ্āϝা āύিāϝ়ে āφāϏে, āϤāĻŦুāĻ“, āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻŦ্āϰাāĻĻাāϰ্āϏ। āĻ…āϞৌāĻ•িāĻ• āϏāĻŽৃāĻĻ্āϧি āύিāĻļ্āϚিāϤ।

 

āĻ•ৌāϤূāĻšāϞāĻŦāĻļāϤ, āύিāύ্āϟেāύ্āĻĄো āĻ—েāĻŽেāϰ "āĻŦিāĻļাāϞ āĻĄিāϞ āĻ­āϞিāωāĻŽ" āĻāϰ āĻāĻ•āϟি āĻ…ংāĻļāĻ•ে āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻĢিāϞ্āĻŽ āϘোāώāĻŖাāϰ āĻĻ্āĻŦাāϰা āϤৈāϰি "āĻŦিāĻļ্āĻŦāĻŦ্āϝাāĻĒী āωāϤ্āϏাāĻš" āĻāϰ āϜāύ্āϝ āĻĻাāϝ়ী āĻ•āϰে। āĻĢিāϞ্āĻŽ āĻāĻŦং āĻ—েāĻŽেāϰ āĻŽāϧ্āϝে āϏāĻšāϝোāĻ—িāϤা āϏāĻŽ্āĻ­āĻŦāϤ āφāĻ—্āϰāĻš āĻļুāϰু āĻ•āϰāϤে āĻāĻŦং āĻ–েāϞোāϝ়াāĻĄ়āĻĻেāϰ āĻāχ āϏাāĻŽ্āĻĒ্āϰāϤিāĻ• āĻ…ংāĻļāϟি āĻ•েāύাāϰ āϜāύ্āϝ āĻĄ্āϰাāχāĻ­ āĻ•āϰাāϰ āĻ•্āώেāϤ্āϰে āĻāĻ•āϟি āĻŦিāĻļাāϞ āĻ­ূāĻŽিāĻ•া āĻĒাāϞāύ āĻ•āϰেāĻ›ে।

 

āĻāĻ›াāĻĄ়াāĻ“, āύিāύ্āϟেāύ্āĻĄোāϰ āĻļো āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āĻ…āύুāϰাāĻ—ীāĻĻেāϰ āϜāύ্āϝ āĻ­āĻŦিāώ্āϝāϤেāϰ āĻĻিāĻ•ে āĻāĻ•āϟি āϞোāĻ­āύীāϝ় āϚেāĻšাāϰা āĻ…āύ্āϤāϰ্āĻ­ুāĻ•্āϤ āĻ•āϰেāĻ›ে। āĻĒāϰāĻŦāϰ্āϤী āĻāĻ•āϟি āϏ্āϞাāχāĻĄ āωāύ্āĻŽোāϚিāϤ āĻ•āϰেāĻ›ে āϝে āφāϰāĻ“ "āϏুāĻĒাāϰ āĻŽাāϰিāĻ“-āϏāĻŽ্āĻĒāϰ্āĻ•িāϤ āĻļিāϰোāύাāĻŽ" āύিāύ্āϟেāύ্āĻĄো āϏ্āϝুāχāϚেāϰ āϜāύ্āϝ āĻĒ্āϰāϏ্āϤুāϤ। āĻ—েāĻŽাāϰāϰা āϏুāĻĒাāϰ āĻŽাāϰিāĻ“ āφāϰāĻĒিāϜি āĻāĻŦং āĻĒ্āϰিāύ্āϏেāϏ āĻĒীāϚ: āĻ•িāĻ•āĻ…āĻĢেāϰ āĻŽāϤো āφāϏāύ্āύ āĻĄেāϞিāĻ­াāϰিāϰ āĻĒ্āϰāϤ্āϝাāĻļা āĻ•āϰāϤে āĻĒাāϰে! Luigi's House 2 HD, Mario Versus Jackass Kong, and Paper Mario: The Long-term Entryway, āĻĒ্āϰিāϝ় āĻĒ্āϰāϤিāώ্āĻ াāύেāϰ āĻ…āύুāϰাāĻ—ীāĻĻেāϰ āϜāύ্āϝ āϏাāĻŽāύে āĻāĻ•āϟি āĻŦিāϏ্āĻŽāϝ়āĻ•āϰ āĻ­্āϰāĻŽāĻŖেāϰ āĻĒ্āϰāϤিāĻļ্āϰুāϤি āĻĻেāϝ়।

Saturday, November 4, 2023

āϰাāĻ™্āĻ—াāĻŽাāϟিāϰ āĻĻূāϰ āĻĒাāĻšা⧜ āϏাāϜেāĻ•েāϰ āĻŦাঁāĻ•ে

 

āĻ•াāϜেāϰ āϚাāĻĒে āύাāĻ­িāĻļ্āĻŦাāϏ āωāĻ ে āĻšাঁāĻĒি⧟ে āĻĒ⧜āϞে āĻĻāĻŽāĻŦāύ্āϧ āĻĒāϰিāϏ্āĻĨিāϤিāϤে āύিāϜেāĻ•ে āĻāĻ•āϟু āϰিāϚাāϰ্āϜ āĻ•āϰে

 āϏ্āĻŦāϏ্āϤিāϰ āύিāĻļ্āĻŦাāϏ āύিāϤে āχāϚ্āĻ›ে āĻšā§Ÿ। āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ–ুāĻŦ āĻ•াāĻ›ে āĻ—ি⧟ে āĻāϰ āĻŦিāĻļাāϞāϤ্āĻŦ, āύীāϰāĻŦāϤা āφāϰ

 āĻ…āϤুāϞāύী⧟ āϏৌāύ্āĻĻāϰ্āϝেāϰ āĻ•াāĻ›ে āύিāϜেāĻ•ে āϏāĻŽāϰ্āĻĒāĻŖ āĻ•āϰে; āĻĒ্āϰāĻĢুāϞ্āϞāϤা āφāϰ āϏ্āύিāĻ—্āϧāϤা⧟ āĻ­āϰি⧟ে āϤুāϞāϤে

 āĻŽāύ āϚাāχ। āĻĒ্āϰāϤি āĻŦāĻ›āϰ āφāĻŽাāĻĻেāϰ āĻ…āĻĢিāϏ āĻĨেāĻ•ে āĻ­্āϰāĻŽāĻŖেāϰ āĻ†ā§ŸোāϜāύ āĻšā§Ÿ। āĻāĻŦাāϰেāϰ āĻ­েāύ্āϝু



 āϰাāĻ™্āĻ—াāĻŽাāϟিāϰ āϏাāϜেāĻ•। 

āϏাāϜেāĻ•েāϰ āĻĒ্āϰāĻ•ৃāϤি āĻŦāĻ›āϰāϜু⧜ে āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāĻĻেāϰ āĻŽুāĻ—্āϧ āĻ•āϰāϞেāĻ“, āĻŦāϰ্āώা, āĻļāĻ°ā§Ž āĻ“ āĻšেāĻŽāύ্āϤে āϏাāϜেāĻ•েāϰ āϚূ⧜াāϰ āĻŽেāϘেāϰ āĻ–েāϞা āĻŦেāĻļি āĻŽুāĻ—্āϧ āĻ•āϰে। āφāĻŽāϰা āĻļāĻ°ā§Ž’āϰ āĻŽাāĻ āĻĒ্āϰাāύ্āϤে āϏাāϜেāĻ•েāϰ āĻŦাঁāĻ•ে āϰāĻ“āύা āĻšāĻ“ā§Ÿাāϰ āϜāύ্āϝ āĻ“ā§ŸাāϞāϟāύ āĻ•āĻĒোāϰেāϟ āĻ…āĻĢিāϏেāϰ āχāύ্āϟাāϰāύাāϞ āĻ…āĻĄিāϟ āĻ…্āϝাāύ্āĻĄ āĻ•āĻŽāĻĒ্āϞা⧟েāύ্āϏ āĻŦিāĻ­াāĻ— āĻšāϤে ⧧⧍ āĻĨেāĻ•ে ā§§ā§Ē āϜāύেāϰ āĻāĻ•āϟি āĻĻāϞ āĻĒāϰিāĻ•āϞ্āĻĒāύা āϏ্āĻĨিāϰ āĻ•āϰে āϰেāĻ–েāĻ›িāϞাāĻŽ।  

āĻĻāϞāύেāϤা āĻ“ āφāĻŽাāĻĻেāϰ āĻŦিāĻ­াāĻ—ী⧟ āĻĒ্āϰāϧাāύ āĻ‡ā§ŸাāϏিāύ āφāϞী āφāϏ্āĻĨাāĻ­াāϜāύ āĻāĻŦং āĻļ্āϰāĻĻ্āϧাāĻ­াāϜāύ āĻŦ্āϝāĻ•্āϤি āĻšāĻ“ā§Ÿা⧟ āĻ…āĻŦāĻļেāώে āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāϰ āϏংāĻ–্āϝা āĻ—ি⧟ে āĻĻাঁ⧜াāϞ ā§­ā§§ āϜāύেāϰ āĻŦিāĻļাāϞ āĻŦāĻšāϰে। āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāϰ āĻŦāĻšāϰেāϰ āĻ•āĻĨা āĻ­াāĻŦāϤেāχ āĻŽāύে āĻšāϚ্āĻ›ে— āĻļāĻšāϰেāϰ āĻŦ্āϝāϏ্āϤāĻŽā§Ÿ āϝাāύ্āϤ্āϰিāĻ• āϜীāĻŦāύāĻ•ে āĻ›ুāϟি āĻĻি⧟ে āĻĒ্āϰāĻ•ৃāϤিāϰ āĻāĻ•āϟু āĻĒ্āϰāĻļাāύ্āϤিāϰ āĻ›োঁ⧟া āĻĒেāϤে āĻŽাāύুāώ āĻ•āϤāϟা āĻ…āϏ্āĻĨিāϰ-āωāĻĻāĻ—্āϰীāĻŦ āĻšā§Ÿে āϏুāϝোāĻ—েāϰ āĻ…āĻĒেāĻ•্āώা⧟ āĻĨাāĻ•ে। āϏুāϝোāĻ— āĻĒেāϞেāχ āĻŽাāύুāώ āϏāĻŦুāϜেāϰ āϏāĻŽাāϰোāĻšে āĻĒ্āϰāĻ•ৃāϤিāϰ āĻŽাāĻে āύিāϜেāĻ•ে āĻŽেāϞে āϧāϰāϤে āϚা⧟। āĻŦিāĻļেāώ āĻ•āϰে āϤীāĻŦ্āϰ āϤাāĻĒāĻĻাāĻšেāĻ“ āĻ াāύ্āĻĄা āĻŦাāϤাāϏেāϰ āĻĒāϰāĻļ, āĻ­িāύ্āύ āϜাāϤেāϰ āĻĒাāĻšা⧜ি āĻŽাāύুāώ, āĻšāĻ াā§Ž āĻŦৃāώ্āϟি, āĻšāĻ াā§Ž āϰোāĻĻ— āĻāĻŽāύ āĻĒ্āϰাāĻ•ৃāϤিāĻ• āϰূāĻĒ-āϏৌāύ্āĻĻāϰ্āϝে āϘেāϰা āĻĻৃāĻļ্āϝāĻĒāϟ āĻĻেāĻ–াāϰ āύেāĻļা āϜাāĻ—āϞে āϤো āĻ•āĻĨাāχ āύেāχ। 

āĻ­্āϰāĻŽāĻŖেāϰ āĻĒ্āϰāϤ্āϝাāĻļিāϤ āĻĻিāύ āϚāϞে āĻāϏেāĻ›ে। ⧍ā§Ŧ āĻ…āĻ•্āϟোāĻŦāϰ āϰাāϤ ā§§ā§§āϟা⧟ āϏāĻŦাāϰ āϏāĻŽāĻŦেāϤ āĻšāĻ“ā§Ÿাāϰ āĻ•āĻĨা āĻĸাāĻ•াāϰ āφāϰাāĻŽāĻŦাāĻ—েāϰ āϏেāύ্āϟāĻŽাāϰ্āϟিāύ āĻŦাāϏ āĻ•াāωāύ্āϟাāϰে। āϏাāϜেāĻ• āĻ­্āϰāĻŽāĻŖেāϰ āĻ িāĻ• āĻĒূāϰ্āĻŦāĻŦāϰ্āϤী āϏāĻŽā§Ÿে āĻāĻ• āωāϤ্āϤেāϜāύাāĻŽā§Ÿ āĻŽুāĻšূāϰ্āϤেāϰ āϏূāϚāύা āĻšā§ŸেāĻ›ে। āϏাāϜেāĻ•েāϰ āĻŽেāϘেāϰ āĻ—াāϞিāϚা⧟ āĻ­াāϏাāϰ āϏ্āĻŦāĻĒ্āύ āύি⧟ে āĻļāĻšāϰেāϰ āĻŦিāĻ­িāύ্āύ āϏ্āĻĨাāύ āĻĨেāĻ•ে āĻ•েāω āĻĒাāĻ াāĻ“, āωāĻŦাāϰ  āĻ•েāωāĻŦা āύিāϜāϏ্āĻŦ āĻĒāϰিāĻŦāĻšāύে āĻāϏে āĻŦাāϏ āĻ•াāωāύ্āϟাāϰে āϏāĻŽāĻŦেāϤ āĻšāϚ্āĻ›েāύ। āĻĻীāϰ্āϘ āĻŦিāϰāϤিāϤে āϏāĻšāĻ•āϰ্āĻŽীāĻĻেāϰ āĻāĻ• āĻĒāϰিāĻŦাāϰেāϰ āϏাāĻĨে āĻ…āύ্āϝ āĻĒāϰিāĻŦাāϰেāϰ āĻĻেāĻ–া āĻšāϞেāĻ“ āĻāĻŽāύ āφāύ্āϤāϰিāĻ•āĻ­াāĻŦে āφāϞিāĻ™্āĻ—āύ āĻŦা āĻ•āϰāĻŽāϰ্āĻĻāύ āĻ•āϰāĻ›েāύ āϝেāύ āĻĻুāĻĻিāύ āφāĻ—েāχ āĻāĻ•ে āĻ…āĻĒāϰেāϰ āϏাāĻĨে āĻĻেāĻ–া āĻšā§ŸেāĻ›ে, āĻ•āĻĨা āĻšā§ŸেāĻ›ে। āĻŦাāϏ āĻ›া⧜াāϰ āĻ•াāĻ›াāĻ•াāĻ›ি āϏāĻŽā§Ÿ āĻšā§Ÿে āĻ—েāϞেāĻ“ āϝাāύāϜāϟেāϰ āĻ•াāϰāĻŖে āĻ•ā§ŸেāĻ•āϜāύ āĻ•াāωāύ্āϟাāϰে āĻāϏে āĻĒৌঁāĻ›াāϤে āĻĒাāϰেāύāύি। āϝাāϰ āĻ•াāϰāĻŖে āĻ…āύেāĻ•েāϰ āĻŽāϧ্āϝে āϚāϞāĻ›ে āωāĻĻ্āĻŦেāĻ—-āĻ‰ā§ŽāĻ•āĻŖ্āĻ া। āϝাāϰা āφāϏেāύāύি āϤাāϰা āĻŦাāϏ āĻ›া⧜াāϰ āφāĻ—ে āĻāϏে āĻĒৌঁāĻ›াāϤে āĻĒাāϰāĻŦে āϤো? 

āĻ āϝেāύ ‘āĻĻাāϰুāϚিāύি āĻĻ্āĻŦীāĻĒ’ āϏিāύেāĻŽাāϰ āĻĻৃāĻļ্āϝāĻŽাāύ āĻĒ্āϰāϤিāϚ্āĻ›া⧟াāϰ āĻ…āύুāĻ­ূāϤি āĻĒুāϰোāĻĒুāϰি āĻŦাāϏ্āϤāĻŦে āĻ­āϰ āĻ•āϰেāĻ›ে āφāĻŽাāĻĻেāϰ āϏাāϜেāĻ• āĻ­্āϰāĻŽāĻŖেāϰ āωāĻĒāϰ। āϏāϤ্āϝি, āĻ āĻāĻ• āĻ…āύ্āϝ āϰāĻ•āĻŽ āĻ…āύুāĻ­ূāϤি, āĻ…āύ্āϝ āϰāĻ•āĻŽ āĻĻৃāĻļ্āϝāĻĒāϟ! āĻŦাāϏ āϏ্āϟেāĻļāύে āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāĻĻেāϰ āϏāĻŦাāχ āωāϤ্āϤেāϜāύা⧟ āϟāĻ—āĻŦāĻ—ে āĻšā§Ÿে āφāĻ›ে, āĻ•āĻ–āύ āĻļুāϰু āĻšāĻŦে āϝাāϤ্āϰা। 

āϝাāϤ্āϰা āφāϰāĻŽ্āĻ­ āĻšāĻ“ā§Ÿাāϰ āĻĒূāϰ্āĻŦে āĻ­্āϰāĻŽāĻŖāĻĒিāĻĒাāϏু āϏāĻŦাāϰ āϚোāĻ–ে-āĻŽুāĻ–ে āĻ—āĻ­ীāϰ āĻĒ্āϰāĻļাāύ্āϤি āĻ“ āĻļাāύ্āϤিāĻĒূāϰ্āĻŖ āφāĻŦেāĻļ āϞāĻ•্āώ্āϝ āĻ•āϰা āϝাāϚ্āĻ›ে। āĻ…āύেāĻ•ে āωāĻĻāĻ—্āϰীāĻŦ āĻšā§Ÿে āĻŽুāĻ–ি⧟ে āφāĻ›েāύ, āĻ•āĻ–āύ āĻ…āĻĒāϰূāĻĒা āϏাāϜেāĻ•ে āĻŽেāϘেāϰ āϏংāϏ্āĻĒāϰ্āĻļে āĻ—ি⧟ে āĻĒাāĻ–িāϰ āĻŽāϤো āĻĄাāύা āĻŽেāϞে āĻ•্āϞাāύ্āϤিāϰ āĻ…āĻŦāϏাāĻĻ āĻ•াāϟাāϤে āĻĒাāϰāĻŦেāύ। 

āĻ…āĻŦāĻļেāώে, āĻĒাāĻšা⧜ি āωāĻĒāϜাāϤিāĻĻেāϰ āϜীāĻŦāύ āĻĒ্āϰāĻŦাāĻšেāϰ āĻ›োঁ⧟া āĻĒাāĻ“ā§Ÿাāϰ āϤীāĻŦ্āϰ āφāĻ•াāĻ™্āĻ•্āώা āĻŽāύে āϜাāĻ—ি⧟ে āφāϰ āĻĒ্āϰāĻ•ৃāϤিāϰ āύিāĻŦি⧜ āϏাāύ্āύিāϧ্āϝ āĻĒাāĻ“ā§Ÿাāϰ āĻĒ্āϰāϤ্āϝাāĻļা āύি⧟ে ā§Šāϟি āĻŦাāϏে āĻļুāϰু āĻšāϞো āφāĻŽাāĻĻেāϰ āϏাāϜেāĻ• āϝাāϤ্āϰা। āĻĸাāĻ•া āĻļāĻšāϰেāϰ āϰাāϏ্āϤাāϰ āφāϞোāϰ āφāĻ­া āĻ…āϤিāĻ•্āϰāĻŽ āĻ•āϰে āϰাāϤ্āϰিāϰ āύিāϏ্āϤāĻŦ্āϧāϤা⧟ āĻĻুāϰāύ্āϤ āĻ—āϤিāϤে āĻ›ুāϟে āϚāϞāĻ›ে āĻŦাāϏ। āϜাāύাāϞাāϰ āĻĒāϰ্āĻĻা āϏāϰি⧟ে āωāĻĒāϰেāϰ āĻĻিāĻ•ে āϤাāĻ•াāϤেāχ āφāĻ•াāĻļেāϰ āĻŦুāĻ•ে āĻĒূāϰ্āĻŖ āϚাঁāĻĻ āĻুāϞে āϜ্āĻŦāϞāϜ্āĻŦāϞ āĻ•āϰāϤে āĻĻেāĻ–ে āĻŽāύāϟা āĻ­াāϞো āĻšā§Ÿে āĻ—েāϞ। āĻŽāύে āĻŽāύে āĻ­াāĻŦāĻ›ি, āϏাāϜেāĻ•ে āĻĻিāύে āϏূāϰ্āϝেāϰ āφāϞোāϤে āĻĒ্āϰāĻ•ৃāϤি āĻĻেāĻ–āĻŦ āφāϰ āϰাāϤেāĻ“ āϜোāĻ›āύাāϰ āύীāϞাāĻ­ āφāϞো⧟ āĻĻেāĻ–া āϝাāĻŦে āύিāϚেāϰ āĻĒাāĻšা⧜ি āĻ—াāĻ›āĻĒাāϞা āφāϰ āĻŽেāϘেāϰ āϞুāĻ•োāϚুāϰি। āϧীāϰে āϧীāϰে āϰাāϤ্āϰিāϰ āĻ…āύ্āϧāĻ•াāϰ āϘāύ āĻšāϝ়ে āĻ“āĻ াāϰ āϏāĻ™্āĻ—ে āϏāĻ™্āĻ—ে āĻŦাāϏেāϰ āϏীāϟেāϰ āĻŽāϧ্āϝেāχ āύিāĻĻ্āϰাāĻ­িāĻ­ূāϤ āĻšāϝ়ে āĻĒāĻĄ়āϞ āϏāĻ•āϞ āϝাāϤ্āϰী। āϝাāϤ্āϰা āĻĒāĻĨে āφāĻŽিāĻ“ āĻŽাāύুāώেāϰ āĻ•āϞ্āĻĒāύাāϝ় āϝāϤāĻĻূāϰ āϝাāĻ“ā§Ÿা āϝাāϝ় āϤাāϰ āϚেāϝ়েāĻ“ āĻ…āϧিāĻ• āĻĒāĻĨ āĻ…āϤিāĻ•্āϰāĻŽ āĻ•āϰে, āϏাāϜেāĻ•েāϰ āĻŽোāĻšāĻŽāϝ় āĻĒ্āϰāĻ•ৃāϤিāϰ āĻ…āĻĒাāϰ āϏৌāύ্āĻĻāϰ্āϝেāϰ āĻ­াāĻŦāύা⧟ āĻŽāĻ—্āύ āĻšā§Ÿে āϧীāϰে āϧীāϰে āϘুāĻŽেāϰ āϘāϰে āĻĸāϞে āĻĒ⧜āϞাāĻŽ। 

āϏāĻ•াāϞ ā§­āϟা। āĻ­োāϰেāϰ āφāĻ­া āĻ•েāϟে āĻ—েāĻ›ে। āĻŦাāϏ āĻāϏে āĻĨাāĻŽāϞ āĻ–াāĻ—āĻĄ়াāĻ›āĻĄ়িāϰ āĻāĻĢāĻāύāĻāĻĢ āϰেāϏ্āϟুāϰেāύ্āϟেāϰ āϏাāĻŽāύে। āφāĻ•াāĻļে āϤেāĻŽāύ āĻŽেāϘেāϰ āϘāύāϘāϟা āύেāχ। āĻĻীāϰ্āϘ āϝাāϤ্āϰাāϰ āĻĒāϰ āĻāϏি āĻŦাāϏেāϰ āĻŦāύ্āϧ āĻĻāϰāϜা āĻ–ুāϞে āĻĒাāĻšা⧜ি āĻŦাāϤাāϏেāϰ āĻ›োঁ⧟া⧟ āϝেāύ āĻšাāĻĢ āĻ›ে⧜ে āĻŦাঁāϚāϞাāĻŽ। āύাāϏ্āϤাāϰ āϜāύ্āϝ āϰেāϏ্āϟুāϰেāύ্āϟে āĻ…āĻĒেāĻ•্āώāĻŽাāĻŖ āϏāĻŦ āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāϰ āĻŽāύে āĻ‰ā§ŽāϏāĻŦেāϰ āϧাāϰা āĻ“ āĻ‰ā§ŽāĻĢুāϞ্āϞāϤা āĻŦিāϰাāϜ āĻ•āϰāĻ›ে। āϏāĻŦাāϰ āĻ োঁāϟে āĻšাāϏি āĻ—ā§œাāĻ—ā§œি āĻ–াāϚ্āĻ›ে, āĻāĻ•ে āĻ…āĻĒāϰেāϰ āϏাāĻĨে āĻŦিāĻ­িāύ্āύ āϰāĻ•āĻŽ āĻĻুāώ্āϟুāĻŽি āĻ“ āĻ—āϞ্āĻĒে āĻŽāĻ—্āύ। āĻŦ⧟āϏāĻ­েāĻĻে āĻ›োāϟ āĻ›োāϟ āĻĻāϞে āĻŦিāĻ­āĻ•্āϤ āĻšā§Ÿে āĻ—েāĻ›েāύ āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāϰা। āĻāĻ• āĻŽুāĻšূāϰ্āϤেāϰ āϜāύ্āϝāĻ“ āĻ•াāϰāĻ“ āĻ•āĻĨাāϰ āĻŦিāϰাāĻŽ āϘāϟāĻ›ে āύা। āĻŽāύে āĻšāϚ্āĻ›ে āĻ•োāύāĻ“ āĻšাāϏি—āϤাāĻŽাāĻļাāϰ āĻĢো⧟াāϰা āĻšāϤে āĻ•āĻĨা āϧাāϰ āĻ•āϰে āĻāĻ•ে āĻ…āĻĒāϰেāϰ āϏাāĻĨে āĻ•āĻĨা āĻŦāϞাāϰ āĻ‰ā§ŽāϏāĻŦে āĻŽেāϤে āωāĻ েāĻ›েāύ।

āĻšāĻ াā§Ž-āχ āĻŽেāϘেāϰ āϏাāĻĨে āĻŽেāϘেāϰ āϘāϰ্āώāĻŖেāϰ āφāĻ“ā§ŸাāϜ āĻŦāϜ্āϰāĻĒাāϤেāϰ āĻিāϞিāĻ•েāϰ āϏাāĻĨে āĻ•াāύে āĻ­েāϏে āφāϏāĻ›ে। āĻ•িāĻ›ুāĻ•্āώāĻŖেāϰ āĻŽāϧ্āϝেāχ āĻ…āĻোāϰে āĻļুāϰু āĻšāϞো āĻŦৃāώ্āϟি। āϏূāϰ্āϝেāϰ āφāϞোāϰ āϏাāĻĨে āĻŽাāĻ–াāĻŽাāĻ–ি āĻšā§Ÿে āĻŦৃāώ্āϟিāϰ āĻĢোঁāϟাāĻ—ুāϞো āĻ“āĻĒāϰ āĻšāϤে āύিāϚেāϰ āĻĻিāĻ•ে āĻŽুāĻ•্āϤোāϰ āĻĻাāύাāϰ āĻŽāϤো āĻ—ā§œি⧟ে āĻĒ⧜āĻ›ে। āĻĒ্āϰāϚāĻŖ্āĻĄ āĻŦৃāώ্āϟিāϰ āĻ•াāϰāĻŖে āĻ…āϜাāύা āφāĻļāĻ™্āĻ•া⧟ āύিāĻĒāϤিāϤ āϏāĻŦাāϰ āϏাāϜেāĻ•েāϰ āĻŦুāĻ•ে āϘুāϰে āĻŦে⧜াāύোāϰ āϏ্āĻŦāĻĒ্āύ। āĻāĻ•āϜāύ āĻŦাāĻšিāϰেāϰ āĻŦৃāώ্āϟিāϏ্āύাāϤ āĻā§œো āĻšাāĻ“ā§Ÿাāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻšāϤাāĻļাāϰ āϏুāϰে āĻŦāϞāϞ— ‘āϏাāϜেāĻ• āĻĒৌঁāĻ›াāύোāϰ āĻĒāϰ āĻšā§ŸāϤ āφāĻ—াāĻŽী āĻĻুāĻĻিāύ āφāĻŽাāĻĻেāϰ āĻšোāϟেāϞে āĻ…āĻŦāϏ্āĻĨাāύ āĻ•āϰেāχ āĻ•াāϟি⧟ে āĻĻিāϤে āĻšāĻŦে’। 

āĻিāϰিāĻিāϰি āĻŦৃāώ্āϟি āφāĻŽেāϜেāϰ āϏাāĻĨে āĻŽেāϤে āωāĻ ে āĻ•ā§ŸেāĻ• āϜো⧜া āĻ•āĻĒোāϤ-āĻ•āĻĒোāϤী āφāĻĄ্āĻĄা āĻĻিāϚ্āĻ›ে āφāϰ āĻŽুāĻ ো⧟ āĻŽুāĻ ো⧟ āϏāĻŽā§Ÿ āĻĒাāϰ āĻ•āϰāĻ›ে। āϏāĻŦাāχ āĻšাāϏিāĻ–ুāĻļি āύিāϜেāĻĻেāϰ āωāĻĒāϏ্āĻĨাāĻĒāύ āĻ•āϰাāϰ āϚেāώ্āϟা āĻ•āϰāĻ›ে, āϤাāϰাāχ āϝেāύ āϏāĻŦāϚে⧟ে āϏেāϰা āφāϰ āϏুāĻ–ী āĻĻāĻŽ্āĻĒāϤি। āĻŦিāĻļেāώ āĻ•āϰে āϏ্āϤ্āϰীāϰা āϤাāĻĻেāϰ āϏ্āĻŦাāĻŽীāϰ āĻ–ুāĻŦ āĻĒ্āϰāĻļংāϏা āĻ•āϰāĻ›েāύ। āĻĒাāĻļ āĻĨেāĻ•ে āĻāĻ•āϜāύ āĻĻুāώ্āϟুāĻŽি āĻ•āϰে āĻāĻ• āĻ­āĻĻ্āϰ āĻŽāĻšিāϞাāϰ āύিāĻ•āϟ āϜাāύāϤে āϚাāχāϞো— ‘āĻ­াāĻŦি āφāĻĒāύি āφāϰ āĻ–োāĻ•া āĻ­াāχ āĻ—āϤāϰাāϤ āĻĨেāĻ•ে āĻāĻ•āĻĻāĻŽ āϚুāĻŽ্āĻŦāĻ•েāϰ āĻŽāϤো āφāώ্āϟেāĻĒৃāώ্āĻ ে āϞেāĻ—ে āφāĻ›েāύ। āφāĻĒāύাāĻĻেāϰ āĻŽāϧুāϰ āϏāĻŽ্āĻĒāϰ্āĻ•েāϰ āĻ—োāĻĒāύ āϰāĻšāϏ্āϝ āϜাāύāϤে āϚাāχ?’ āĻ­্āϰāĻŽāĻŖেāϰ āϏāĻŦāϚে⧟ে āĻŦ⧟োāϜ্āϝেāώ্āĻ  āĻ–োāĻ•া āĻ­াāĻ‡ā§Ÿেāϰ āϏ্āϤ্āϰী āĻ­াāĻŦ-āĻ­āĻ™্āĻ—িāϤে āĻ•োāύāĻ“ āĻĒ্āϰāĻ•াāϰ āϏংāĻ•োāϚ āĻŦা āϏংāĻļ⧟ āύা āϰেāĻ–ে āϏ্āĻŦাāĻŽীāϰ āĻĒ্āϰāĻļংāϏা āĻ•āϰে āĻŦāϞে āĻĢেāϞāϞেāύ, ‘āĻ“ āĻ–ুāĻŦ āĻ­াāϞো। āĻāĻ•āϟা āωāĻĻাāĻšāϰāĻŖ āĻĻিāϞেāχ āĻŦুāĻāϤে āĻĒাāϰāĻŦেāύ’। āϤাāϰāĻĒāϰ āĻĻ্āĻŦিāϧা āύা āϰেāĻ–ে āĻŦāϞāϞেāύ—  ‘āĻŦিāĻŦাāĻšিāϤ āϜীāĻŦāύেāϰ ⧍ā§Ē āĻŦāĻ›āϰ āϧāϰে āĻ“ āφāĻŽাāϰ āϏāĻŦ āĻ•াāĻĒ⧜-āϚোāĻĒ⧜ āύিāϜেāχ āĻ•েঁāϚে āĻĻে⧟’। āĻĒ্āϰāĻļংāϏা āĻ•āϰে āφāϰāĻ“ āĻŦāϞāϞেāύ, ‘āĻ“ āϝেāĻŽāύ āĻļাāύ্āϤāĻļিāώ্āϟ, āϤেāĻŽāύ āĻ­āĻĻ্āϰ। āφāĻŽāϰা āĻ–ুāĻŦ āϏুāĻ–ী āĻĒāϰিāĻŦাāϰ। āψāĻļ্āĻŦāϰেāϰ āφāĻļীāϰ্āĻŦাāĻĻ āύা āĻĨাāĻ•āϞে āĻāĻŽāύ āĻĒুāϰুāώ āϜীāĻŦāύ āϏāĻ™্āĻ—ী āĻšিāϏেāĻŦে āĻĒাāĻ“ā§Ÿা āϝা⧟ āύা!’ āϤাāϰāĻĒāϰ āĻŽāϜাāϰ āϏুāϰে āĻŦāϞāϞেāύ— ‘āϏ্āĻŦাāĻŽী āĻ—ৃāĻšāĻĒাāϞিāϤ āύা āĻšā§Ÿে āϝāĻĻি āĻ‰ā§œāύāϚāĻŖ্āĻĄী āĻšā§Ÿ, āϤাāĻšāϞে āϏংāϏাāϰ āĻ•āϰা āĻ–ুāĻŦ āĻ•āĻ িāύ’। āϚāϟ āĻ•āϰে āĻāĻ•āϟা āĻ…āϏ্āĻŦāϏ্āϤি āĻŦ⧟োāϜ্āϝেāώ্āĻ  āĻ–োāĻ•াāĻ•ে āĻŦিāĻŦ্āϰāϤ āĻ•āϰে āϤুāϞāϞ। āĻ­āĻĻ্āϰāϞোāĻ• āύিāϜেāϰ āĻĒ্āϰāĻļংāϏা āĻļুāύে āϘা⧜āϟা āĻāĻ•āϟু āĻŦাঁāĻ•ি⧟ে āĻāĻ•āĻŦাāϰ āύিāϜেāϰ āϏ্āϤ্āϰীāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻ•িāĻ›ু āĻŦāϞāϤে āĻ—ি⧟েāĻ“ āĻĨেāĻŽে āĻ—েāϞ। āϤাāϰāĻĒāϰ āϧীāϰে āϧীāϰে āĻŽাāĻĨাāϟা āύিāϚেāϰ āĻĻিāĻ•ে āύাāĻŽি⧟ে āϚুāĻĒ āĻ•āϰে āϰāχāϞ। āĻ•āĻĨা āĻļুāύে āĻĒাāĻļ āĻĨেāĻ•ে āĻ•ā§ŸেāĻ•āϜāύ āĻšাāϏিāϰ āĻŽāϧ্āϝে āĻŦিāĻĻ্āϰূāĻĒেāϰ āĻŦিāĻĻ্āϝুā§Ž-āĻিāϞিāĻ• āύি⧟ে āĻšাāϏāϤে āĻĨাāĻ•āϞ; āĻŽāύে āĻšāϚ্āĻ›ে āĻĻ্āĻŦিāϧা āφāϰ āϏংāĻ•োāϚেāϰ āĻĒাāĻ•ে āĻĄুāĻŦে āϝাāϚ্āĻ›েāύ āĻ–োāĻ•া āĻ­াāχ। āϞāϜ্āϜাāϰ āĻ­াāĻŦāϟা āĻ•াāϟি⧟ে āύিāϤে āύিāϜেāĻ•ে āϏাāĻŽāϞে āύি⧟ে āĻšাāϏāϤে āĻšাāϏāϤে āĻŦাāĻ• āϚাāϤুāϰ্āϝেāϰ āĻŽাāϧ্āϝāĻŽে āĻŦāϞāϞেāύ— ‘āϏংāϏাāϰেāϰ āĻļাāύ্āϤিāϰ āĻŦাāϤা⧟āύেāϰ āϝাāϰা ‘‘āϤাāϤ্āϤ্āĻŦিāĻ• āĻ—ুāϰু’’ āϤাāϰা āϏāĻšāϧāϰ্āĻŽিāĻŖীāĻ•ে āϏāĻŦ āĻ•াāϜে āϏাāĻšাāϝ্āϝেāϰ āĻšাāϤ āĻŦা⧜ি⧟ে āĻĻি⧟ে āϏংāϏাāϰāϜীāĻŦāύāĻ•ে āϏুāύ্āĻĻāϰ āĻ•āϰে āϤোāϞেāύ! āĻĻাāĻŽ্āĻĒāϤ্āϝ āϜীāĻŦāύে āϏāĻ™্āĻ—ীāĻ•ে āϤুāϚ্āĻ›, āĻ›োāϟāĻ–াāϟো āϏাāĻšাāϝ্āϝāĻ—ুāϞো āĻ…āύেāĻ• āϏāĻŽā§Ÿ āϏংāϏাāϰেāϰ āĻŦāĻĄ় āĻŦāĻĄ় āĻāĻ—ā§œা-āĻŦিāĻŦাāĻĻ āĻŦা āĻŦিāĻĒāϰ্āϝāϝ়āĻ—ুāϞো āϏāĻšāϜে āĻā§œি⧟ে āϝেāϤে āϏাāĻšাāϝ্āϝ āĻ•āϰে āĻĨাāĻ•ে। āφāϰ āĻ…āĻļাāύ্āϤি āύাāĻŽāĻ• āĻā§œ āĻ•āĻ–āύো āĻĻাāĻŽ্āĻĒāϤ্āϝ āϜীāĻŦāύে āφāϘাāϤ āĻšাāύāϤে āĻĒাāϰে āύা। āϏংāϏাāϰ āϜীāĻŦāύে āϏুāĻ–ী āĻšāĻ“ā§Ÿাāϰ āϜāύ্āϝ āϝা āϝা āĻ•āϰা āĻĒ্āϰ⧟োāϜāύ āϏāĻŦāχ āĻ•āϰা āωāϚিāϤ āĻāĻ•āϜāύ āĻĻা⧟িāϤ্āĻŦāĻŦাāύ āϏ্āĻŦাāĻŽীāϰ’। 

āϝাāϤ্āϰাāĻŦিāϰāϤিāϰ āϏāĻŽā§Ÿ āĻļেāώ āĻšā§Ÿে āĻāϞো āφāϰ āφāĻŽাāĻĻেāϰ āφāĻĄ্āĻĄাāĻ“ āϰং āĻšাāϰি⧟ে āϏ্āϤিāĻŽিāϤ āĻšā§Ÿে āφāϏāϞো। āϏāĻ•াāϞেāϰ āύাāϏ্āϤা āϏেāϰে āφāĻŽāϰা āĻ–াāĻŦাāϰ āĻšোāϟেāϞেāϰ āϏাāĻŽāύে āϰাāĻ–া āϚাāύ্āĻĻেāϰ āĻ—া⧜িāϤে ā§Žāϟা ā§Šā§Ļ āĻŽিāύিāϟে āĻŦāϏে āĻĒ⧜েāĻ›ি āĻ–াāĻ—ā§œাāĻ›ā§œি āĻšāϤে āϏাāϜেāĻ• āϝাāĻ“ā§Ÿাāϰ āωāĻĻ্āĻĻেāĻļ্āϝে। āĻāϤāĻ•্āώāĻŖে āĻŦৃāώ্āϟিāϰ āϟাāĻĒুāϰāϟুāĻĒুāϰ āφāĻ“ā§ŸাāϜ āĻĨেāĻŽে āĻ—ি⧟ে āφāĻ•াāĻļ āĻĒāϰিāώ্āĻ•াāϰ āĻšā§Ÿে  āĻ­্āϝাāĻĒāϏা āĻ—āϰāĻŽ āĻļুāϰু āĻšā§ŸেāĻ›ে। āφāĻŦāĻšাāĻ“ā§Ÿাāϰ āĻĻ্āϰুāϤ āĻĒāϰিāĻŦāϰ্āϤāύ āĻĻেāĻ–ে āĻŽāύে āĻšāϚ্āĻ›ে— āϤিāύāϟা āϜিāύিāϏāĻ•ে āĻ•āĻ–āύো āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰāϤে āĻšā§Ÿ āύা ‘Weather’, ‘Women’ āφāϰ ‘Animal’, āĻ•াāϰāĻŖ āĻāϰা āϝে āĻ•োāύো āĻŽুāĻšূāϰ্āϤে āύিāϜেāϰ āφāϚāϰāĻŖāĻ•ে āĻĒāϰিāĻŦāϰ্āϤāύ āĻ•āϰাāϰ āϏāĻ•্āώāĻŽāϤা āϰাāĻ–ে। 

āϚাāύ্āĻĻেāϰ āĻ—া⧜ি ā§¨ā§Ž āĻ•িāϞোāĻŽিāϟাāϰ āĻĒāĻĨ āĻĒেāϰি⧟ে āϘāύ āĻĒাāĻšা⧜ āĻ“ āϜāĻ™্āĻ—āϞেāϰ āĻ•াāĻ›াāĻ•াāĻ›ি āĻŦাāĻ—াāχāĻšাāϟ āĻāϏে āĻĨাāĻŽāϞ। āϤাāϰāĻĒāϰ āĻāĻ•āϟা āĻŽাāĻ ে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰে āĻ…āĻĒেāĻ•্āώা āĻ•āϰāϤে āĻĨাāĻ•āϞ āϏেāύাāĻŦাāĻšিāύী āϚেāĻ•āĻĒোāϏ্āϟে āĻāύ্āϟ্āϰিāϰ āϜāύ্āϝ। āϜাāύা āĻ—েāϞ, āωāĻĒāϜাāϤিāĻĻেāϰ āφāĻž্āϚāϞিāĻ• āϏāĻļāϏ্āϤ্āϰ āϏংāĻ—āĻ āύ āχāωāĻĒিāĻĄিāĻāĻĢ-āϏāĻš āĻ…āύ্āϝাāύ্āϝ āĻ•ā§ŸেāĻ•āϟি āĻ—্āϰুāĻĒ āĻĒাāĻšা⧜ি āĻĒāĻĨে āϚāϞাāϚāϞāĻ•াāϰী āĻĒāϰিāĻŦāĻšāύ āĻ“ āĻĒāĻŖ্āϝ āĻšāϤে āύি⧟āĻŽিāϤ āϚাঁāĻĻা āφāĻĻা⧟ āĻ•āϰে। āĻ“āϰা āĻŽাāĻে āĻŽাāĻে āĻŦাāĻ™াāϞিāĻĻেāϰ āϧāϰে āύি⧟ে āϭ⧟āĻ™্āĻ•āϰ āϤ্āϰাāϏ āϏৃāώ্āϟি āĻ•āϰে āĻĒাāĻšা⧜ে āĻ…āϏ্āĻŦাāĻ­াāĻŦিāĻ• āĻĒāϰিāϏ্āĻĨিāϤিāϰ āϏৃāώ্āϟি āĻ•āϰে। āϝাāϰ āĻ•াāϰāĻŖে āϏেāύাāĻŦাāĻšিāύীāϰ āĻĒ্āϰāϟেāĻ•āĻļāύ āĻ›া⧜া āϏাāϜেāĻ•ে āϝাāĻ“ā§Ÿাāϰ āĻ…āύুāĻŽāϤি āύেāχ। āωāĻĒāϜাāϤিāĻĻেāϰ āĻŦিāĻ­িāύ্āύ āϏāĻļāϏ্āϤ্āϰ āĻ—্āϰুāĻĒেāϰ āĻšাāϤ āĻĨেāĻ•ে āϰāĻ•্āώাāϰ āϜāύ্āϝ ā§§ā§Ļāϟাāϰ āϏāĻŽā§Ÿ āϏেāύাāĻŦাāĻšিāύী āĻāϏāĻ•োāϰ্āϟ āĻ•āϰে āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāĻĻেāϰ āĻ—া⧜িāĻ—ুāϞো āϏাāϜেāĻ• āĻĒৌঁāĻ›ে āĻĻে⧟। āφāĻŦাāϰ āĻŦিāĻ•েāϞে āĻāϏāĻ•োāϰ্āϟ āĻ•āϰে āύি⧟ে āφāϏে। 

āĻŦাāĻ—াāχāĻšাāϟ āĻšāϤে āϚাāύ্āĻĻেāϰ āĻ—া⧜ি āĻāĻ—ি⧟ে āϚāϞেāĻ›ে āϏাāϜেāĻ•েāϰ āωঁāϚু—āύিāϚু āĻ“ āφঁāĻ•াāĻŦাঁāĻ•া āĻĒাāĻšা⧜ি āϰাāϏ্āϤা⧟ āĻ িāĻ• āĻŦুāĻ•ে āĻšেঁāϟে āϚāϞা āϏাāĻĒেāϰ āĻŽāϤো। āϏূāϰ্āϝ āĻŽাāĻĨাāϰ āωāĻĒāϰ āϤāĻĒ্āϤ āϤাāĻĒāĻĻাāĻš āĻĸেāϞে āĻĻিāϞেāĻ“ āĻĻুāĻĒাāĻļ āĻĨেāĻ•ে āĻ›ুāϟে āφāϏা āĻĒাāĻšা⧜ি āĻĻাāĻŽাāϞ āĻšাāĻ“ā§Ÿা āĻ…āύ্āϝ āϰāĻ•āĻŽ āĻāĻ•āϟা āĻļীāϤāϞāϤা⧟ āĻļāϰীāϰ āĻ›ুঁ⧟ে āĻĻিāϚ্āĻ›ে। āĻĻুāĻĒুāϰেāϰ āϤāĻĒ্āϤ āϰোāĻĻেāϰ āϏোāύাāϞী āφāϞো āĻĻু’āĻĒাāĻļেāϰ āĻĒাāĻšা⧜ি āĻ—াāĻ›েāϰ āωāĻĒāϰ āĻĒ⧜ে āϧাāϤāĻŦ āĻŽুāĻĻ্āϰাāϰ āĻŽāϤো āĻিāĻ•āĻŽিāĻ• āĻ•āϰে āωāĻ āĻ›ে āĻĒাāϤা। āϚāϞāϤি āĻĒāĻĨে āĻĒাāĻšা⧜েāϰ āĻĸাāϞুāϤে āϧাāύ, āĻšāϞুāĻĻ, āĻ•āϞা āφāϰ āĻ…āύ্āϝাāύ্āϝ āĻĢāϏāϞ āύি⧟ে  āϏāĻŽ্āĻŦāϞিāϤāĻ­াāĻŦে āϜুāĻŽāϚাāώেāϰ āĻĻৃāĻļ্āϝ āϚোāĻ–ে āĻĒ⧜āĻ›ে। āĻ•িāĻ›ুāĻ•্āώāĻŖ āĻĒāϰ āĻĒāϰ āϚোāĻ–ে āĻĒ⧜āĻ›ে āϰাāϏ্āϤাāϰ āĻĻুāχ āĻĒাāĻļেāϰ āĻ—িāϰিāĻ–াāϤ। āύিāϚেāϰ āĻĻিāĻ•ে āϤাāĻ•ি⧟ে āĻŽāύে āĻšāϚ্āĻ›ে āϏুāωāϚ্āϚ āϰাāϏ্āϤাāϰ āύিāϚেāϰ āĻĻিāĻ•ে āĻĨাāĻ•া āĻĒাāĻšা⧜েāϰ āϏāĻŦুāϜ āĻĒ্āϰāĻ•ৃāϤি āφāĻŽাāĻĻেāϰ āĻšাāϤāĻ›াāύি āĻĻি⧟ে āĻĄাāĻ•āĻ›ে। āĻŽাāĻেāĻŽāϧ্āϝে āϚোāĻ–ে āĻĒ⧜āĻ›ে āĻĒাāĻšা⧜েāϰ āĻĸাāϞে āĻĸাāϞে āφāĻĻিāĻŦাāϏীāĻĻেāϰ āĻŦাঁāĻļেāϰ āĻ–ুāĻĒāϰি āϘāϰ। āϜāĻ™্āĻ—āϞেāϰ āĻ­েāϤāϰেāϰ āĻ•ুঁ⧜ে āϘāϰ āĻĨেāĻ•ে āωāĻĒāϜাāϤিāĻĻেāϰ āϏāĻĻ্āϝ āĻšাঁāϟāϤে āĻļেāĻ–া, āĻ•āĻĨা āĻŦāϞা āĻ›োāϟ্āϟ āĻ›োāϟ্āϟ āĻŦাāϚ্āϚাāĻ—ুāϞো āϰাāϏ্āϤা⧟ āĻāϏে āĻ­্āϰāĻŽāĻŖāĻ•াāϰীāĻĻেāϰ āϚāϞāϤি āĻ—া⧜িāϰ āĻĻিāĻ•ে āĻŽা⧟াāĻŦী āϚোāĻ–ে āϤাāĻ•ি⧟ে āĻ–াāĻŦাāϰেāϰ āϜāύ্āϝ āĻšাāϤ āĻŦা⧜ি⧟ে āĻĻিāϚ্āĻ›ে। āϝāĻ–āύ āϚāϞāϤি āĻ—া⧜ি āĻĨেāĻ•ে āĻ“āĻĻেāϰ āĻĻিāĻ•ে āĻ•েāω āϚিāĻĒāϏ āĻŦা āĻŦিāϏ্āĻ•ুāϟেāϰ āĻĒ্āϝাāĻ•েāϟ āĻ›ুঁ⧜ে āĻĻিāϚ্āĻ›ে āϤāĻ–āύ āĻŦাāϚ্āϚাāĻ—ুāϞো āĻšাāϤ āϤুāϞে āĻ–ুāĻļিāϤে āϝেāύ āĻুঁāϟিāĻ“ā§ŸাāϞা āĻĒা⧟āϰাāϰ āĻŽāϤো āĻŦāĻ•āĻŦাāĻ•ুāĻŽ āĻŦāĻ•āĻŦাāĻ•ুāĻŽ āĻ•āϰে āύেāϚে āωāĻ āĻ›ে। āϚāϞāϤি āĻĒāĻĨে āϚাāϰāĻĻিāĻ•েāϰ āύ⧟āύাāĻ­িāϰাāĻŽ āĻĻৃāĻļ্āϝেāϰ āφāϰাāĻŽে āφāĻŽাāϰ āĻĻু’āύ⧟āύ āĻŦুāϜে āφāϏāĻ›ে। āĻĒাāĻšা⧜ āϝেāύ āĻĒুāϰোāĻĒুāϰি āĻĢুāϟে āωāĻ েāĻ›ে āϤাāϰ āύিāϜāϏ্āĻŦ āĻ­āĻ™্āĻ—িāĻŽা⧟ āύিāϜেāϰ āϰূāĻĒেāϰ āϜাāύাāύ āĻĻিāϤে। āφāĻŦাāϰ āĻ•āĻ–āύো āĻŽāύে āĻšāϚ্āĻ›ে āϝāĻĻি āĻ•োāύāĻ“ āĻ•াāϰāĻŖে āĻ—া⧜ি āϤাāϰ āύি⧟āύ্āϤ্āϰāĻŖ āĻšাāϰি⧟ে āĻĢেāϞে āϤাāĻšāϞে āϏোāϜা āφāĻŽাāĻĻেāϰ āύি⧟ে āϝাāĻŦে āύিāϚেāϰ āϝāĻŽেāϰ āĻŦা⧜িāϤে! āύিāϚেāϰ āĻĻৃāĻļ্āϝ āĻĻেāĻ–ে āφāϤāĻ™্āĻ•ে āĻ•াঁāĻĒāĻ›ে āĻŦুāĻ•, āφāϰ āĻŦুāĻ•েāϰ āĻāĻ•āĻĒাāĻļে āφāϟāĻ•ে āĻĨাāĻ•া āϭ⧟েāϰ  āĻļিāϰāĻļিāϰে āĻ…āύুāĻ­ূāϤি āĻļিāϰāĻĻাঁ⧜া āĻĻি⧟ে āύাāĻŽāĻ›ে, āϝা āφāϰāĻ“ āϤীāĻŦ্āϰ āĻšā§Ÿে āĻĢুāϟে āωāĻ āĻ›ে āĻ­্āϰāĻŽāĻŖāϏāĻ™্āĻ—ীāĻĻেāϰ āĻŽāϞিāύ āĻŽুāĻ–ে। āĻ•্āώāĻŖে āĻ•্āώāĻŖে āĻ­াāϞোāϞাāĻ—া āφāϰ āϭ⧟ āĻļিāĻšāϰিāϤ āĻšā§Ÿে āϜেāĻ—ে āωāĻ ে āĻŽāύ āύিāϜেāϰ āĻ…āύুāĻ­ূāϤিāϰ āĻ—āϤিāĻĒāĻĨ āĻĒāϰিāĻŦāϰ্āϤāύ āĻ•āϰে āύিāϚ্āĻ›ে। 

āĻ…āĻŦāĻļেāώে, āϏাāϜেāĻ• āĻ­্āϝাāϞিāϰ āϚূ⧜া⧟ āĻĒৌঁāĻ›ে āĻŽāύে āĻšāϚ্āĻ›ে āĻ•āϞ্āĻĒāύাāϰ āĻŽাāύāϏāĻĒāϟে āφāĻ•া āĻāĻ•āϟা āϏ্āĻĨাāύে āĻŦাāϏ্āϤāĻŦে āφāϰোāĻšāĻŖ āĻ•āϰāϞাāĻŽ। āĻĒ্āϰা⧟ ā§§ā§Žā§Ļā§Ļ āĻĢুāϟ āωঁāϚু āϏাāϜেāĻ•েāϰ āϚূ⧜া। āĻ āϝেāύ āĻĒ্āϰāĻ•ৃāϤিāϰ āĻāĻ• āϏুāωāϚ্āϚ āĻŽিāύাāϰ। āφāĻŽāϰা āĻāϤāĻ•্āώāĻŖ āϝে āĻĒাāĻšা⧜ি āĻĒāĻĨ āĻĒেāϰি⧟ে āϏাāϜেāĻ•েāϰ āĻ›াঁāĻĻে āĻāϏেāĻ›ি, āϚাāϰāĻĒাāĻļেāϰ āϏেāχ āϏ্āĻĨাāύāĻ•ে āĻŽāύে āĻšāϚ্āĻ›ে āϏāĻŦুāϜ āĻ…āϰāĻŖ্āϝেāϰ āĻĸেāω āĻ–েāϞাāύো āĻĒাāĻšা⧜েāϰ āϏাāϰি। āĻĒাāĻšা⧜ āĻŦে⧟ে āϏাāϜেāĻ•েāϰ āϚূ⧜াāϰ āĻŦাঁāĻ•ে āωāĻ াāϰ āφāĻ—ে āĻŦুāĻāϤেāχ āĻĒাāϰিāύি, āĻāĻ–াāύে āĻāĻŽāύ āĻ­িāύ্āύ āϚিāϤ্āϰ āĻ…āĻĒেāĻ•্āώা āĻ•āϰāĻ›ে। āĻ āϝেāύ āĻĒাāĻšা⧜ āφāϰ āĻŽেāϘেāϰ āĻŽিāϤাāϞিāϤে āĻ—ā§œে āωāĻ া āĻĒ্āϰāĻ•ৃāϤিāϰ āϏৃāώ্āϟ āĻāĻ• āϝৌāĻĨ āĻ–াāĻŽাāϰ।

āφāĻŽāϰা āϚাāύ্āĻĻেāϰ āĻ—া⧜ি āĻšāϤে āύেāĻŽে āĻŽেāϘ āĻŦাāϤা⧟āύ, āĻŽেāϘ āĻŽাāϚাং, āĻ—āϏāĻĒেāϞ, āĻ•ুঁ⧜ে āϘāϰ, āĻŽāύো āφāĻ­া āύাāĻŽāĻ• āĻ­িāύ্āύ āĻ­িāύ্āύ āϏ্āĻĨাāύে āĻ…āĻŦāϏ্āĻĨিāϤ āĻĒাঁāϚāϟি āϰিāϏোāϰ্āϟে āφāĻ—ে āĻĨেāĻ•ে āĻŦāϰাāĻĻ্āĻĻāĻ•ৃāϤ āϰুāĻŽে āĻĒাঁāϚāϟি āĻĻāϞে āĻŦিāĻ­āĻ•্āϤ āĻšā§Ÿে āϚāϞে āĻ—েāϞাāĻŽ। āĻŽেāϘ āĻŦাāϤা⧟āύ āĻ•āϟেāϜে āĻ—ি⧟ে āĻ—োāϏāϞ āϏেāϰে āĻŦিāĻļ্āϰাāĻŽ āύি⧟ে āĻĻীāϰ্āϘ āĻ­্āϰāĻŽāĻŖেāϰ āĻ•্āϞাāύ্āϤি āĻ•িāĻ›ুāϟা āĻŽুāĻ›ে āĻĢেāϞে āϰāĻ“āύা āĻšāϞাāĻŽ āĻĻুāĻĒুāϰেāϰ āĻ–াāĻŦাāϰেāϰ āϜāύ্āϝ। āϚāϞāĻŦে...

 

 

 

Friday, November 3, 2023

Apple Watch


Apple last week reported another sans hands motion for their Apple Watch series called twofold tap the prep the reason is to permit clients to nap cautions stop clocks or do essential operating system route with only a couple of speedy Taps of your finger this reminds myself and numerous others about an execution that Samsung as of now has called Widespread signals and today I need to demo the element on the Universe watch 6. truly it's enjoyable to analyze apples versus oranges in the event that you will and another focus point we ought to have as pixel fans is what the pixel watch will be facing assuming that they intend to execute this element too so in the event that you have a Universe watch 4 and up you can turn on the sans hands signals in the settings availability cooperation and expertise then, at that point, divert on general motions from that point you can enact the motion overlay by curving your wrist two times once enacted you ought to see a little yellow symbol which shows to you what thing you're going to make a move on this framework is the principal way you communicate with the operating system one squeeze will float the blueprint over to the following thing two squeezes drifts the diagram back in thing grasping your clench hand once addresses a tap and gripping your clench hand two times will open an activity menu to get to a more extensive assortment of capabilities relying upon what is shown on your screen so on the home screen for instance the activity menu will give you easy routes to applications notices and other home screen tiles utilizing the activity menu on other home screen tiles will give you alternate routes for further developed activities like adding new tiles swiping left swiping right and going to your watch face utilizing it on notices will give you a choice to excuse it close by the remainder of your route choices in certifiable utilization I wind up to have blended results no doubt with the most well-known errands like noting calls napping cautions or answering Notices Samsung's emphasis fills in true to form inside a few motions you can make a move on most undertakings and with some training you can get the cycle down quite effectively I can see this being valuable for specialists that regularly have their hands full like cyclists or a canine walker I can see this being utilized by clinical experts that need to have clean hands consistently yet need to connect with their Smartwatch or the self-evident and most purposeful use utilizes which is in the event that you have a veritable ailment and need the one-gave capability to be clear it is noticeably flawed however speedy undertakings like noting calls or message is valuable yet doing much else top to bottom is excessively convoluted for my preferring beginning an exercise for instance is an aggravation and typically my wrist muscles get drained before I even draw near to the choice I'm searching for significantly more complicated assignments can take 5 to 10 signals on occasion to hit the nail on the head and by then it's typically a lot simpler assuming that you truly stop anything you're doing and utilize your second hand assuming that you're ready to on the brilliant side you could actually pull off utilizing the signals solely to get to any piece of the working framework which is strong for clients that need it yet for every other person I can see this being valuable for essential superficial undertakings there are a few fascinating highlights that truly do accompany Samsung's Widespread motions anyway and we will cover them genuine fast first you in all actuality do have the choice to enact an on-screen cursor that you can use for an exact determination the cursor involves slant movements for route and standing firm on your footing for about a second will it address a tap this can be exceptionally useful in the event that the crushing signals aren't working for yourself and simply need an alternate technique for collaboration another great truth is you can remap a large portion of these motions in the Samsung War application which is enormous in light of the fact that I view the default design as a bit bulky in the event that you really do anticipate utilizing these signals strictly I would vigorously consider remapping the signals to what is generally helpful for you will make the whole progression of working without hands substantially more consistent once you get some margin to tweak it for your inclinations in shutting without Involved time with Apple's rendition I can't explicitly say which emphasis is better as a matter of fact I would agree that they're totally different items with twofold tap being more fundamental and smoothed out for any typical client while Samsung's General signals took the more capability over structure approach with a wide assortment of choices yet will require a ton of training to pursue awesome assuming I had a decision and we really do wind up getting this component on the pixel Watch 2 I figure Google ought to go for The Best case scenario with one smoothed out choice for the typical client and one more specialized variant for those that truly need the overabundance capacity highlights so folks let me in on your thought process of twofold tap versus the widespread motions discussion would you need to see this in a pixel watch does anybody as of now utilize this component on their World watch now and provided that this is true the way that I couldn't imagine anything better than to hear what you all think yet meanwhile I'm leaving this has been Jordan Floyd with all day Google thank you kindly for watching and I'll see you in the following one unfamiliar