{"id":8142,"date":"2026-05-22T10:37:28","date_gmt":"2026-05-22T07:37:28","guid":{"rendered":"http:\/\/intelsiberia.ru\/?page_id=8142"},"modified":"2026-05-22T11:21:12","modified_gmt":"2026-05-22T08:21:12","slug":"glab-6","status":"publish","type":"page","link":"http:\/\/intelsiberia.ru\/en\/glab-6\/","title":{"rendered":"INTERACTIVE FILM IN VIDEO GAMES: A GENRE ANALYSIS"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\" id=\"4\">\u0423\u0414\u041a 7.01:004.9<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Lizaveta M. Kholodkova<sup>1<\/sup><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><sup>1<\/sup> Siberian Federal University, Krasnoyarsk, Russia.<br><a href=\"mailto:lizavetakholodkova@gmail.com\">lizavetakholodkova@gmail.com<\/a><br><br><strong>Abstract<\/strong>. Interactive Film is a hybrid medium situated at the intersection of the gaming and film industries. Projects developed within this medium are difficult to characterize and classify. This study attempts to describe the specific characteristics of the interactive film genre in video games, which will help define the boundaries of the genre\u2019s features and draw parallels between games and other media products.<br>First and foremost, the boundaries of the concept of \u201cInteractive Film\u201d are examined, and a general definition is provided, in which the key feature is the recipient\u2019s ability to be not only a viewer or player, but also the one who unfolds the story and narrative. The main precursors of the genre in video games and their characteristics were also identified: FMV games; graphic adventure games (Point-and-Click Adventures); visual novels; role-playing games (RPGs).<br>The main result of the study was a genre analysis of interactive film in video games, the specific features of which include: interactivity; branching narratives and the associated multiple endings and choice statistics; audiovisual and aesthetic components as the foundation of the narrative framework; cutscenes of various types as an integral part of gameplay; QTE \u2013a key mechanic; and the integration of classic and unique game mechanics. It has been established that all the genre elements of interactive film contribute to the creation of a high-quality narrative that reproduces a unique, self-contained artistic system that treats the viewer as a coauthor.<br><br><strong>Keywords<\/strong>: Interactive Film, Video Games, Game Studies<br><br><strong>For citation: <\/strong>Kholodkova L. M. Interactive Film in Video Games: A Genre Analysis \/\/ Game Laboratory, 2026, 1 (2), \u0440\u0440. 6-14. [in Russian]. EDN: JVWCEH<\/p>\n\n\n\t\t<div class=\"ctc-block ctc-copy-button-wrap\" data-ctc-analytics=\"1\" data-ctc-source=\"gutenberg-block\" data-ctc-block-type=\"ctc\/copy-button\">\n\t\t\t<button type=\"button\" class=\"ctc-block-copy ctc-copy-button wp-block-ctc-copy-button\" data-copied-text=\"Copied\" data-copied=\"Copied\">\n\t\t\t\t<span class=\"ctc-button-text\">Copy<\/span>\n\t\t\t<\/button>\n\t\t\t<textarea class=\"ctc-copy-content ctc-copy-button-textarea\" readonly>Kholodkova L. M. Interactive Film in Video Games: A Genre Analysis \/\/ Game Laboratory, 2026, 1 (2), \u0440\u0440. 6-14. [in Russian]. EDN: JVWCEH<\/textarea>\n\t\t<\/div>\n\t\t\n\n\n<details class=\"wp-block-details is-layout-flow wp-block-details-is-layout-flow\"><summary><strong>References<\/strong><\/summary>\n<p class=\"wp-block-paragraph\">Aarseth, E. Cybertext: Perspectives on Ergodic Literature. \u2013 The Johns Hopkins University Press, 1997. \u2013 202<br>p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Arkhipov, P. E. Perspektivy razvitiya interaktivnogo kino [The Future of Interactive Cinema] \/\/ Kul&#8217;turnye<br>iniciativy : materialy 53-j Vserossijskoj (s mezhdunarodnym uchastiem) nauchnoj konferencii molodyh<br>issledovatelej (CHelyabinsk, 15 aprelya 2021 g.) 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Chris Crawford on Interactive Storytelling. \u2013 New Riders, 2013. \u2013 360 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Efimova, O. V. Interaktivnoe kino i \u00abkinematografichnye igry\u00bb v kontekste sovremennoj hudozhestvennoj<br>kul&#8217;tury [Interactive cinema and \u201ccinematic games\u201d in the context of contemporary artistic culture] \/\/<br>Sovremennoe iskusstvo v kontekste globalizacii: nauka, obrazovanie, hudozhestvennyj rynok : Materialy XII<br>Vserossijskoj nauchno-prakticheskoj konferencii, Sankt-Peterburg, 11 fevralya 2022 goda [Contemporary Art in<br>the Context of Globalization: Science, Education, and the Art Market: Proceedings of the 12th All-Russian Scientific<br>and Practical Conference, St. Petersburg, February 11, 2022]. \u2013 2022. \u2013 P. 49\u201352.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fomenko, R. A. 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Interaktivnoe kino kak sposob immersivnoj translyacii social&#8217;no-kul&#8217;turnyh tem<br>[Interactive cinema as a means of immersively conveying sociocultural themes] \/\/ Vserossijskie nauchnye chteniya<br>\u2013 2024 : sbornik statej IV Vserossijskoj nauchno-prakticheskoj konferencii, Petrozavodsk, 20 noyabrya 2024 goda.<br>\u2013 Petrozavodsk: Mezhdunarodnyj centr nauchnogo partnerstva \u00abNovaya Nauka\u00bb (IP Ivanovskaya I.I.) [All-Russian<br>Scientific Readings \u2013 2024: Proceedings of the IV All-Russian Scientific and Practical Conference, Petrozavodsk,<br>November 20, 2024. \u2013 Petrozavodsk: International Center for Scientific Partnership \u201cNew Science\u201d (I.I.<br>Ivanovskaya, sole proprietor)]. \u2013 2024. \u2013 P. 70\u201375.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mazukabzova, M. H., Kamenskij, M. V. Verbal&#8217;nye i neverbal&#8217;nye yazykovye sredstva kommunikacii v<br>formirovanii pol&#8217;zovatel&#8217;skogo vybora v interaktivnom kino Detroit: Become Human [Verbal and Nonverbal<br>Communication in Shaping User Choices in the Interactive Film Detroit: Become Human] \/\/ Gumanitarnye i<br>yuridicheskie issledovaniya [Humanities and Legal Studies]. \u2013 2025. \u2013 \u21163. \u2013 P. 524\u2013531.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Murray, J. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. \u2013 The Free Press, 1997. \u2013 325 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Romashkov, A. K. Ispol&#8217;zovanie iskusstvennogo intellekta pri sozdanii personazhej dlya RPG igr [The Use<br>of Artificial Intelligence in Character Creation for RPG Games] \/\/ Ustojchivoe razvitie regionov v sovremennyh<br>usloviyah modernizacii finansovo-ekonomicheskogo obrazovaniya : Sbornik statej po materialam II Vserossijskoj<br>nauchno-prakticheskoj konferencii, posvyashchennoj 105-letiyu Finansovogo universiteta pri Pravitel&#8217;stve<br>Rossijskoj Federacii, Kaluga, 22 marta 2024 goda [Sustainable Regional Development in the Context of<br>Modernizing Financial and Economic Education: A Collection of Articles Based on the Proceedings of the 2nd AllRussian Scientific and Practical Conference Dedicated to the 105th Anniversary of the Financial University under<br>the Government of the Russian Federation, Kaluga, March 22, 2024]. \u2013 2024. \u2013 P. 139\u2013142.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ryan, M.-L. Possible Worlds, Artificial Intelligence, and Narrative Theory. \u2013 Indiana University Press, 1991.<br>\u2013 291 p.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Samojlova, E. O. Osobennosti vizualizacii v interaktivnom kino i komp&#8217;yuternyh igrah [Features of<br>Visualization in Interactive Cinema and Video Games] \/\/ Aktual&#8217;nye voprosy obshchestvennyh nauk: sociologiya,<br>politologiya, filosofiya, istoriya [Current Issues in the Social Sciences: Sociology, Political Science, Philosophy,<br>History]. \u2013 2014. \u2013 \u211640. \u2013 P. 47\u201352.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Safarov, A. M. Vliyanie nelinejnogo narrativa na vovlechyonnost&#8217; igroka: interaktivnye dramy \u00abLife Is<br>Strange\u00bb i \u00abHeavy Rain\u00bb [The Impact of Non-Linear Narratives on Player Engagement: The Interactive Dramas<br>\u201cLife Is Strange\u201d and \u201cHeavy Rain\u201d] \/\/ Mezhdunarodnyj zhurnal gumanitarnyh i estestvennyh nauk [International<br>Journal of Humanities and Natural Sciences]. \u2013 2025. \u2013 \u211611\u20132 (110). \u2013 P. 73\u201379.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shchukina, A. V., Gladkij, D. V., Panchenko, A. YU., Bondar&#8217;, A. A. Derev&#8217;ya povestvovaniya, kak mekhanizm<br>sozdaniya illyuzii vybora [Narrative trees as a mechanism for creating the illusion of choice] \/\/ Innovacionnye<br>resheniya social&#8217;nyh, ekonomicheskih i tekhnologicheskih problem sovremennogo obshchestva : Sbornik<br>nauchnyh statej po itogam kruglogo stola so vserossijskim i mezhdunarodnym uchastiem, Moskva, 15\u201316<br>noyabrya 2021 goda. Tom 7 [Innovative Solutions to the Social, Economic, and Technological Challenges of<br>Modern Society: A Collection of Academic Papers from a Roundtable Discussion with National and International<br>Participation, Moscow, November 15\u201316, 2021. Volume 7]. \u2013 2021. \u2013 P. 109\u2013110.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ushakov, YU. V. Vliyanie igr zhanra \u00abinteraktivnoe kino\u00bb na mirovozzrenie igrokov [The Impact of<br>\u201cInteractive Cinema\u201d Games on Players&#8217; Worldview] \/\/ Alleya nauki [Science Walk]. \u2013 2017. \u2013 V. 1, \u2116 15. \u2013 P. 631\u2013635.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vinokurov, A. V. Razbor i klassifikaciya interaktivnosti vybora v dialogah na osnove videoigry zhanra<br>interaktivnoe kino \u00abLife Is Strange\u00bb [Analysis and Classification of Choice Interactivity in Dialogue Based on the<br>Interactive Cinema Video Game \u201cLife Is Strange\u201d] \/\/ Molodoj uchenyj [Young scientist]. \u2013 2021. \u2013 \u2116 26 (368). \u2013 P.<br>294\u2013297.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n<\/details>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/elibrary.ru\/jvwceh\" target=\"_blank\" rel=\"noreferrer noopener\">Get access to the full version of this article<\/a><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-intelsiberia wp-block-embed-intelsiberia\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"nH7zzSPcaa\"><a href=\"http:\/\/intelsiberia.ru\/gameslaboratory-2026-t-1-2\/\">\u041b\u0430\u0431\u043e\u0440\u0430\u0442\u043e\u0440\u0438\u044f \u0438\u0433\u0440 | Games Laboratory, 2026. \u0422. 1. \u21162<\/a><\/blockquote><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; visibility: hidden;\" title=\"\u00ab\u041b\u0430\u0431\u043e\u0440\u0430\u0442\u043e\u0440\u0438\u044f \u0438\u0433\u0440 | Games Laboratory, 2026. \u0422. 1. \u21162\u00bb &#8212; \u0418\u043d\u0442\u0435\u043b\u0441\u0438\u0431\u0435\u0440\u0438\u0430 (Intelsiberia)\" src=\"http:\/\/intelsiberia.ru\/gameslaboratory-2026-t-1-2\/embed\/#?secret=kUffm8H0lO#?secret=nH7zzSPcaa\" data-secret=\"nH7zzSPcaa\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u0423\u0414\u041a 7.01:004.9 Lizaveta M. Kholodkova1 1 Siberian Federal University, Krasnoyarsk, Russia.lizavetakholodkova@gmail.com Abstract. Interactive Film is a hybrid medium situated at the intersection of the gaming and film industries. Projects developed within this medium are difficult to characterize and classify. This study attempts to describe the specific characteristics of the interactive film genre in video games, &#8230; <a title=\"INTERACTIVE FILM IN VIDEO GAMES: A GENRE ANALYSIS\" class=\"read-more\" href=\"http:\/\/intelsiberia.ru\/en\/glab-6\/\" aria-label=\"Read more about INTERACTIVE FILM IN VIDEO GAMES: A GENRE ANALYSIS\">Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_locale":"en_US","_original_post":"http:\/\/intelsiberia.ru\/?page_id=8140","footnotes":""},"wf_page_folders":[320],"class_list":["post-8142","page","type-page","status-publish","en-US"],"acf":[],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":8136,"url":"http:\/\/intelsiberia.ru\/gameslaboratory-2026-t-1-2\/","url_meta":{"origin":8142,"position":0},"title":"\u041b\u0430\u0431\u043e\u0440\u0430\u0442\u043e\u0440\u0438\u044f \u0438\u0433\u0440 | Games Laboratory, 2026. \u0422. 1. \u21162","author":"\u0418\u043d\u0442\u0435\u043b\u0441\u0438\u0431\u0435\u0440\u0438\u0430 (Intelsiberia) \u2014 \u0421\u043e\u0434\u0440\u0443\u0436\u0435\u0441\u0442\u0432\u043e \u043f\u0440\u043e\u0441\u0432\u0435\u0442\u0438\u0442\u0435\u043b\u0435\u0439 \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u044c\u044f","date":"22.05.2026","format":false,"excerpt":"\u0421\u041e\u0414\u0415\u0420\u0416\u0410\u041d\u0418\u0415 \u0412\u042b\u041f\u0423\u0421\u041a\u0410 ISSUE CONTENT \u0418\u041d\u0422\u0415\u0420\u0410\u041a\u0422\u0418\u0412\u041d\u041e\u0415 \u041a\u0418\u041d\u041e \u0412 \u0412\u0418\u0414\u0415\u041e\u0418\u0413\u0420\u0410\u0425: \u0416\u0410\u041d\u0420\u041e\u0412\u0410\u042f \u0425\u0410\u0420\u0410\u041a\u0422\u0415\u0420\u0418\u0421\u0422\u0418\u041a\u0410 \u041b\u0438\u0437\u0430\u0432\u0435\u0442\u0430 \u041c\u0430\u0440\u0438\u043d\u043e\u0432\u043d\u0430 \u0425\u043e\u043b\u043e\u0434\u043a\u043e\u0432\u0430 INTERACTIVE FILM IN VIDEO GAMES: A GENRE ANALYSIS Lizaveta M. Kholodkova \u042d\u0412\u041e\u041b\u042e\u0426\u0418\u042f \u041d\u0415\u0427\u0415\u041b\u041e\u0412\u0415\u0427\u0415\u0421\u041a\u0418\u0425 \u041e\u0411\u0420\u0410\u0417\u041e\u0412 \u0412 \u0412\u0418\u0414\u0415\u041e\u0418\u0413\u0420\u0410\u0425 SUPER MARIO BROS. (1985) \u0418 STRAY (2022) \u0412\u0430\u0440\u0432\u0430\u0440\u0430 \u041e\u043b\u0435\u0433\u043e\u0432\u043d\u0430 \u041b\u0435\u0431\u0435\u0434\u0435\u0432\u0430 Evolution of non-human images in video games Super Mario Bros Varvara\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/intelsiberia.ru\/wp-content\/uploads\/2026\/05\/snimok-ekrana-2026-05-22-151851.png?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/intelsiberia.ru\/wp-content\/uploads\/2026\/05\/snimok-ekrana-2026-05-22-151851.png?resize=350%2C200 1x, https:\/\/i0.wp.com\/intelsiberia.ru\/wp-content\/uploads\/2026\/05\/snimok-ekrana-2026-05-22-151851.png?resize=525%2C300 1.5x"},"classes":[]},{"id":8068,"url":"http:\/\/intelsiberia.ru\/en\/glab-3\/","url_meta":{"origin":8142,"position":1},"title":"MODERN METHODS OF NARRATIVE ANALYSIS IN VIDEO GAMES (BASED ON THE ANALYSIS OF THE VIDEO GAME \u201cDISPATCH\u201d 2025)","author":"\u0418\u043d\u0442\u0435\u043b\u0441\u0438\u0431\u0435\u0440\u0438\u0430 (Intelsiberia) \u2014 \u0421\u043e\u0434\u0440\u0443\u0436\u0435\u0441\u0442\u0432\u043e \u043f\u0440\u043e\u0441\u0432\u0435\u0442\u0438\u0442\u0435\u043b\u0435\u0439 \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u044c\u044f","date":"09.04.2026","format":false,"excerpt":"\u0423\u0414\u041a 7.08 MODERN METHODS OF NARRATIVE ANALYSIS IN VIDEO GAMES (BASED ON THE ANALYSIS OF THE VIDEO GAME \u201cDISPATCH\u201d 2025) Lizaveta M. Kholodkova1 1 Siberian Federal University, Krasnoyarsk, Russia. lizavetakholodkova@gmail.com Abstract. The article discusses the potential of game-based and interactive learning environments as tools for implementing inclusive education. It analyzes\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6782,"url":"http:\/\/intelsiberia.ru\/en\/dig-38\/","url_meta":{"origin":8142,"position":2},"title":"INTERACTIVITY IN CONTEMPORARY FILM","author":"shurmanovaaa@mail.ru","date":"13.03.2026","format":false,"excerpt":"\u0423\u0414\u041a 008 INTERACTIVITY IN CONTEMPORARY FILM Lidia S. Ivanova1 1Siberian Federal University, Krasnoyarsk, Russiat-ledi@inbox.ru, orcid.org\/0000-0002-4973-8570 Abstract. The aim of the research is to study the phenomenon of interactivity as a form of organizing dialogue in the space of modern feature films and expressive means in screen works. The object of\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8019,"url":"http:\/\/intelsiberia.ru\/gameslaboratory-2026-t-1-1\/","url_meta":{"origin":8142,"position":3},"title":"\u041b\u0430\u0431\u043e\u0440\u0430\u0442\u043e\u0440\u0438\u044f \u0438\u0433\u0440 | Games Laboratory, 2026. \u0422. 1. \u21161","author":"\u0418\u043d\u0442\u0435\u043b\u0441\u0438\u0431\u0435\u0440\u0438\u0430 (Intelsiberia) \u2014 \u0421\u043e\u0434\u0440\u0443\u0436\u0435\u0441\u0442\u0432\u043e \u043f\u0440\u043e\u0441\u0432\u0435\u0442\u0438\u0442\u0435\u043b\u0435\u0439 \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u044c\u044f","date":"09.04.2026","format":false,"excerpt":"\u0421\u041e\u0414\u0415\u0420\u0416\u0410\u041d\u0418\u0415 \u0412\u042b\u041f\u0423\u0421\u041a\u0410 ISSUE CONTENT \u0418\u0413\u0420\u041e\u0412\u042b\u0415 \u0418 \u0418\u041d\u0422\u0415\u0420\u0410\u041a\u0422\u0418\u0412\u041d\u042b\u0415 \u0421\u0420\u0415\u0414\u042b \u041a\u0410\u041a \u0421\u0420\u0415\u0414\u0421\u0422\u0412\u041e \u0420\u0415\u0410\u041b\u0418\u0417\u0410\u0426\u0418\u0418 \u0418\u041d\u041a\u041b\u042e\u0417\u0418\u0412\u041d\u041e\u0413\u041e \u041e\u0411\u0423\u0427\u0415\u041d\u0418\u042f \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u043e\u0432\u043d\u0430 \u0413\u0430\u0440\u0442 GAME-BASED AND INTERACTIVE EDUCATIONAL ENVIRONMENTS AS A TOOL FOR IMPLEMENTING INCLUSIVE LEARNING Alexandra A. Garth \u041a\u041e\u041d\u0422\u0418\u041d\u0413\u0415\u041d\u0422\u041d\u041e\u0421\u0422\u042c \u041a\u0410\u041a \u041e\u041d\u0422\u041e\u041b\u041e\u0413\u0418\u0427\u0415\u0421\u041a\u0418\u0419 \u041f\u0420\u0418\u041d\u0426\u0418\u041f \u0412\u0418\u0420\u0422\u0423\u0410\u041b\u042c\u041d\u041e\u0413\u041e \u041c\u0418\u0420\u0410 DWARF FORTRESS \u0413\u043e\u043c\u043e\u043d\u043e\u0432 \u0418\u043b\u044c\u044f \u0421\u0435\u0440\u0433\u0435\u0435\u0432\u0438\u0447, \u0422\u0430\u043c\u0438\u043b\u0438\u043d \u0420\u043e\u043c\u0430\u043d \u0412\u0438\u043a\u0442\u043e\u0440\u043e\u0432\u0438\u0447 CONTINGENCY AS AN ONTOLOGICAL PRINCIPLE\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar 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\u0438 \u043a\u043b\u0430\u0441\u0441\u0438\u0444\u0438\u0446\u0438\u0440\u043e\u0432\u0430\u0442\u044c. \u0412 \u0440\u0430\u043c\u043a\u0430\u0445 \u0434\u0430\u043d\u043d\u043e\u0433\u043e \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f \u043e\u0441\u0443\u0449\u0435\u0441\u0442\u0432\u043b\u044f\u0435\u0442\u0441\u044f \u043f\u043e\u043f\u044b\u0442\u043a\u0430 \u043e\u043f\u0438\u0441\u0430\u0442\u044c \u0441\u043f\u0435\u0446\u0438\u0444\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0436\u0430\u043d\u0440\u0430 \u0438\u043d\u0442\u0435\u0440\u0430\u043a\u0442\u0438\u0432\u043d\u043e\u0435 \u043a\u0438\u043d\u043e \u0432 \u0432\u0438\u0434\u0435\u043e\u0438\u0433\u0440\u0430\u0445, \u0447\u0442\u043e\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar 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