The Apocalypse of Cawthon

Written by: Golan

The psychoanalysis of FNAF lore I have written and posted a while ago was a collection of ideas I've had ever since January 2024, when I've entered a new FNAF phase, except now with an interest for Continental Philosophy. It helped me understand the concept of repression, which down the line helped me understand concepts from Jungian and Lacanian psychoanalysis, and eventually find out about other parts of French theory as well as cybernetics and Accelerationism when I found Madesuki and NetworkVictim.

Her latest FNAF post has prompted me to start writing this analysis. After having found out FNAF 3 is actually Scott Cawthon's favorite game in the franchise (as of 2019), and coupling this with stuff I've already known, both about the franchise in general and FNAF 3, I became confident enough to write this analysis.

The psychoanalytic nuances of FNAF have become clear enough to enable me to state that Scott Cawthon has managed to at least unconsciously intuit certain mechanisms and project them into his creations.

1st Night: Bonnie and the Purple Shadow

The newsclipping at the end of FNAF 3 reveals something interesting about Scott Cawthon: his tendency to have waking nightmares/sleepwalking episodes, and also his Bonnie nightmare. Bonnie has been unique in this regard, since it is supposedly the only one of Scott's FNAF creations that actually showed up in his nightmares.

The description Scott gave of his nightmare was that Bonnie was in his hallway, and that he jumped out of bed to close the door only to discover the door was locked (couldn't be closed?) and an implication that Bonnie was already in the room with him. This mechanic has also been translated in the first FNAF game. It seems that Scott sees Bonnie in a certain way which caused him to show up in his nightmares, and also to alter his behavior in FNAF. Bonnie has been coded as the most aggressive of the animatronics. Bonnie also does not abide by laws of nature, not just because of the running joke but also his tendency to teleport between the Backstage and the Supply Closet rooms.

In the second game, Scott has removed the face of Withered Bonnie (and arguably gave him the most disturbing design of the Withereds). But he also kept Bonnie's purple-looking color and gave it to the main villain of the franchise: William Afton. Furthermore, we have seen the addition of the first two Shadow animatronics: Shadow Freddy and Shadow Bonnie (I'm not gonna type in that name), the former of which is the most explicitly purple and about the latter, finding out it is purple in the following game. But could it be that Scott Cawthon has a shadow self? What would its link be with Bonnie, rabbits and the color purple?

A good association would be with the Trickster archetype, an archetype associated with liminality and disregard for boundaries. It is similar to the aggressive, accelerated nature of Bonnie, his disregard for game logic. One could also connect the Trickster to the Deleuzoguattarian Schizo or to the Body-without-Organs, but I will keep these for later.

2nd Night: The Jouissance Monster

FNAF 3 is perhaps the most well thought out game in the franchise, especially lorewise. It also comes off as the game Scott Cawthon's unconscious used to reveal certain stuff. The rabbit - the Shadow-Trickster - has been morphed into Springtrap, who is William, the main villain of the game. As we see, Scott still sees the rabbit as evil.

Within the main lore, the motif of repression shows up as Springtrap coming back after 30 years, and also the exposure of the shady policy regarding the Safe Room. And within the minigames, their architecture is akin to the clinical structure of neurosis: The upper part, symbolizing the conscious experience, coupled with neurotic symptoms (the off-putting atmosphere, the soundtrack, the glitchy walls), and the Sunken Place, symbolizing the unconscious, repressed aspects. In the Sunken Place, we get to see shadows not yet externalized: Shadow BBs, Shadow Puppet, Shadow Cupcakes.

As Madesuki pointed out, many dismiss these minigames for their surreal, seemingly non-sensical contents. But as she pointed out, many times these minigames can be understood emotionally, but this understanding is seldom signified in language. Perhaps because most of the population can be said to be neurotic (as per Lacan), and of course most have not even begun analysis. The iconography of the Sunken Place is deliberately surreal, as it is a representation of the unconscious and the way it is manifesting in dreams. It is apprehended mainly through affects, through pure intensities.

Going back to the main stuff, Springtrap is the main antagonist of the game. The rabbit re-emerges as the evil element within Scott's mind. Let us now look at the symbolism of the rabbit across history. The rabbit, historically, has been associated in culture with life, sexuality and fertility, most probably because of how fast they are known to reproduce. A notable example is Eostre, the Germanic spring and fertility deity associated with rabbits, and from whom we get the English word "Easter" for the Christian holiday of the Resurrection of Jesus Christ, and from which we also get the tradition of the Easter bunny. It would not be the first time vitality and rabbits are associated with the spring season. The name of Springtrap is a clever pun, consciously and unconsciously, which on first sight means a trap of springs (the springlock suit that trapped William), but can be hijacked in the collective unconscious to reference the season of spring.

Speaking of which, FNAF 3 technically came out in the spring. It came out on March 3rd 2015 on Steam. Let us look at the numbers: FNAF 3 that takes place 30 years after the first game and was released on the 3rd day of the 3rd month of the year. Also, if it canonically took place in 2023, then that would place its action in the Chinese Year of the Rabbit.

William (Springtrap), much like the previously mentioned Bonnie, is very aggressive. He is also impredictible as he does not seem to have a definite movement pattern. Once again the Trickster is in action. However, it seems this one is blurring the line between life and death. The rabbit (symbol of life) is undead, it is in a state of excess-of-life. Thus William can be said to be a personification of Jouissance, of enjoyment past the boundaries of life and into [un]death, especially considering his quest for immortality that was revealed later down the line.

3rd Night: Afton's Territorialization

Most of the FNAF 4 gameplay takes place in dreams. The Dreamer's shadow emerges as the Nightmare Animatronics, and most evidently as Nightmare itself. The minigames hardly present us with symbolism, but the one that is relevant is how the shadows of the Fredbear and Spring Bonnie animatronics on stage are purple. Furthermore, it is the first time we are shown the Afton family, that is the family of the main villain in the franchise.

It is also interesting how the complementary contrasts are used. With these animatronics, yellow and purple (Violet?) are used, which are complementary colors on the color wheel. If purple is meant to represent darkness, shadow, then is yellow meant to represent light? We need more data to be able to say exactly.

The game ends on a new psychoanalytic note: "Perhaps some things are best left forgotten, for now." written above the box. And this box represents the repressed unconscious containing the pieces that were eventually put together.

Months following the fourth game we have gotten the first FNAF book, The Silver Eyes, originally planned to be called The Untold Story, as well as FNAF World. With the book, we have gotten our first names of the important founding characters: Henry Emily and William Afton. With FNAF World, we have seen our first representations of the Flipside, which is supposed to be the projection of the collective unconscious within the lore. Back to the book, the graphic novels have also associated Henry with Fredbear and William with Spring Bonnie. The bear has always been the "face" of Fazbear's, hell it's even in the name, while the rabbit has represented the Shadow.

William Afton was no longer a stray killer character, but also a symbol of corporate power, of [techno]capital. His greed however is not purely financial, he is striving for immortality and is willing to trample on many skulls to get to it. William has thus become a force which not even death can stop in his jouissance. As Madesuki pointed out in a previous post, Afton wants to become more, to become the Body-without-Organs, unregulated by any territory, a being of pure intensity. Pure madness. The Schizo.

Even with Afton seemingly dead by the end of FFPS, something else had to take his place, and that something else was a product of technocapital itself: the Mimic, both physically and as a virus in the VANNI network. The Rabbit has found its new host.

4th Night: The Revelation of the Teleology of Desiring-Production

"Small souls trapped in prisons of my making, now set to new purpose..." -Henry Emily, the Insanity Speech

What is the purpose, though? And what does all of this have to do with Scott Cawthon's psyche? We have seen he demonstrates an unconscious understanding of the machinations of desire. As Henry said it in the Insanity Speech, William had lured the children he had killed, then luring them as possessed animatronics to destroy them and collect remnant, and luring happens in the context of desire. In fact, luring is a motif in this franchise, especially by luring with sounds, in FNAF 2 (the Puppet), FNAF 3 (Springtrap), FFPS (all animatronics) and so on. The role of the luring toreador and of the charging bull appears in the franchise. If we want to expand this, we can say that the Toreador's March meme that is associated with the franchise because of Freddy's music box in the first game can also be added to this motif.

Scott Cawthon seems to unconsciously grasp the mechanisms of desire that constitute both psychoanalytic structures and also the external world in contrast with scarcity via economy. The history of economy (and technology) represents the history of man attempting to fulfill his insatiable desires through transforming elements of his nearby environment. The accelerationist concept of technocapital illustrates the interconnection of technology and capital, perhaps showing that they might really be part of one and the same phenomenon.

And while the accelerationist conclusion that technocapital's purpose (telos) is the creation of an AGI that will replace humanity is pretty fringe, it is indeed an interesting thought experiment. It shows what human desire could cause had it been placed within beings with unlimited production capacities and 0% reterritorialization.

As for Scott himself? Well, he had offered for both himself and his audience a gold mine for analysis. It has become Scott's unintentional self-portrait and the testament of his experience as analysand, intuiting psychic structures and the flows of desire. He had been given some stuff to see.

5th Night: [[a]]

⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣆⠙⠿⣿⣿⣿⣿⣿⣿⡍⠻⢿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⠟⢹⣿⣿⣿⣿⣿⣿⣿⣤⠙⠻⠿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣦⠀⠈⠛⣿⣿⣿⣿⣿⡄⠀⠈⠻⡿⣿⣿⣿⣿⣿⣿⡿⠋⠀⢠⣿⣿⣿⣿⣿⣿⣿⣿⣿⣷⡄⠀⠈⠙⢿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣧⠀⠀⠈⠻⣿⣿⣿⣿⠀⠀⠀⠈⣎⠹⣿⣿⣿⡿⠁⠀⠀⢸⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡿⠀⠀⠀⠀⠹⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡿⢿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡆⠀⠂⠀⢹⣿⣿⣿⡇⠀⠡⠀⠘⡇⠈⠛⣿⡇⠀⠐⠀⣹⣿⣿⣿⣿⣿⣿⣿⣿⡿⠋⢠⡏⠀⢈⠀⠀⢻⣿⣿⣿⣿⣿⣿⣿⣿⠀⠙⢻⣿⣿⣿⣿⡄⠀⠉⠻⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⢿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡇⠀⠠⠁⠀⣿⣿⣿⠃⠀⢰⠀⠀⣿⠀⠀⠨⣅⠀⠌⠀⠘⣿⣿⣿⣿⣿⣿⣿⠋⠀⢠⣿⠇⠀⢠⠂⠀⣸⣿⣿⣿⣿⣿⣿⣿⣿⡇⠀⠀⠹⣿⣿⣿⣿⠀⠀⠀⠙⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣇⠙⣿⣿⣿⣿⣿⣿⣿⣿⠃⠀⠐⡀⠀⢸⣿⠏⠀⢀⡇⠀⢀⣿⠃⠀⠄⢙⠀⠐⡀⠀⢹⣿⣿⣿⣿⡿⠁⠀⠀⣿⡟⠀⢀⡎⠀⢀⣿⣿⣿⣿⣿⣿⣿⣿⣿⠃⠀⡐⠀⣿⣿⡟⣿⠃⠀⠄⠀⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⡄⠈⢿⣿⣿⣿⣿⣿⠏⠀⠀⠡⠀⠀⣼⡿⠀⢀⠞⠀⢀⣼⡿⠀⠀⠂⠈⡆⠀⠄⡀⠀⢻⣿⣿⡿⠁⠀⡀⢸⣿⠁⠀⠎⠀⠀⣼⣿⣿⣿⣿⣿⣿⣿⣿⠏⠀⠀⠀⠀⣾⡿⢀⡏⠀⠜⠀⣸⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣷⠀⠀⢻⣿⣿⣿⡏⠀⠀⠄⠃⠀⢀⣿⡇⠀⡜⠀⢀⣾⠟⠀⠀⢠⠁⠀⡷⠀⠐⠠⠀⠈⣿⣿⠇⠀⠠⠀⢸⣿⠀⠘⠀⠀⣼⣿⣿⣿⣿⣿⣿⣿⣿⠏⠀⠀⠌⠀⢠⣿⠁⢸⡇⠈⠀⣰⣿⣿⣿⣿⣿⣿⣿⣿⣿⢿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣿⠿⣿⣿⣿⣿⣿⣿⣿⣿⡄⠀⠀⢻⣿⡟⠀⠀⡐⠌⠀⠀⠙⠻⣧⠀⠀⢀⣾⠋⠀⠀⡐⠂⠀⢠⡿⠀⠈⡐⠀⠀⢸⣿⠀⠀⠂⠄⠀⣿⠀⠈⠀⣸⣿⣿⣿⣿⠿⣿⣿⡿⠃⠀⠀⠌⡀⠀⣾⠏⠀⠸⡇⠀⢠⣿⣿⣿⣿⣿⣿⣿⣿⠟⢁⣾⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⡟⠁⣸⣿⣿⣿⣿⣿⣿⣿⣿⠇⠀⡀⠈⣿⠀⠀⡐⠠⠃⠀⢸⡄⠀⠘⣧⠀⣼⠃⠀⢀⢂⠡⠀⠀⣾⡇⠀⠠⠑⡀⠀⢸⣿⠀⠀⡉⠄⠀⠸⣧⠀⠀⣿⣿⡿⠋⢀⣾⣿⠟⠀⡎⠀⠐⠂⠄⠀⣿⠀⢀⠀⢻⡄⠘⣿⣿⣿⣿⣿⣿⠋⠁⢠⣾⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⠏⠀⠀⣿⣿⣿⣿⣿⣿⣿⣿⡿⠀⠀⡀⢸⡏⠀⠐⢠⠃⠀⠀⣾⣧⠀⠂⠘⣷⡏⠀⠐⢈⠤⠀⠀⣼⣿⠃⠀⠀⡃⠄⠀⢸⣿⡅⠀⢀⠃⠄⠀⠙⣧⣸⣿⠟⠀⢀⣾⣿⠏⠀⢠⡇⠀⠌⡁⢂⠀⠸⡇⠀⢀⠀⠹⣦⣿⣿⣿⣿⡿⠁⠀⠀⣾⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⡿⠀⠀⠀⣿⣿⣿⣿⣿⣿⣿⣿⠃⠀⢀⠀⣼⠀⠠⠁⡞⢀⠀⢠⣿⣿⡀⠐⡀⢸⠃⠀⠡⢸⠀⠀⠐⣿⠃⠀⠀⣰⠁⠀⠠⠏⢸⣧⠀⠀⠌⠒⡀⠀⠘⣿⡟⠀⠀⢼⣿⡏⠀⢀⢸⣇⠀⠐⢸⡄⠀⠀⠐⠀⠀⠀⠀⠈⢿⣿⣿⡿⠀⠀⠄⢸⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⣿⣿⣯⠀⠐⠀⠸⣎⠹⢿⣿⣿⣿⠇⠀⢀⠂⢀⡇⠀⡐⢸⡇⠠⠐⠠⣿⣿⠄⠀⠄⠀⡃⠈⠄⣻⡇⠀⠀⠀⠀⢀⣰⠇⠀⠀⠈⠀⢺⣿⡇⠀⠈⠰⠁⠄⠀⢹⡇⠀⡀⢺⣿⠁⠀⠄⠀⣯⠀⠀⠄⢻⣄⠂⠀⠐⠀⠈⠄⡀⠀⢹⣿⡇⠀⠠⠀⠸⣿⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣷⠘⢿⣿⡄⠀⠁⠀⠹⣆⠀⠹⣿⡟⠀⠀⢂⠀⢸⡇⠀⡐⢸⡇⠐⡀⠀⢿⠟⠀⠠⢈⠀⡇⠀⢂⠸⣿⢆⣁⣠⣴⡿⠁⠀⠀⠄⠀⡀⢹⣿⡷⠀⠀⡁⢧⠈⠄⠈⠇⠀⡀⠘⣿⠀⠀⠂⠀⢹⣧⠀⠀⠂⢿⡆⢁⠀⠐⡄⠀⠐⡀⠀⢻⡇⠀⠐⡀⠀⠹⣿⣿⣿⣿⣿⣿⣿⣿ ⣿⣿⣿⠀⠈⢿⣇⠀⠈⠄⠀⢿⠀⠀⢘⡃⠀⡈⠄⠀⢸⡆⠀⠠⢹⣷⠀⠄⡀⠈⠀⢀⠒⠀⢠⣧⠀⠠⠐⣿⣯⢿⡽⡟⠀⠀⠀⣲⠀⠀⡀⠀⠙⠃⠀⠠⠁⣸⡆⠐⡀⢰⠀⢀⠀⢿⡅⠀⠡⠀⠀⠙⠆⠀⠐⣸⣿⠀⠄⠀⣿⠀⠐⠠⠀⠈⣷⠀⠀⡐⢀⠀⠘⢿⣿⣿⣿⡿⠿⠛ ⣿⣿⣿⠀⠀⠸⣿⠀⠈⠄⠀⢸⡆⠐⠀⠃⠀⢸⠀⠀⢸⣧⠀⠐⢨⣿⡣⡐⢀⢂⠐⡈⠐⠀⢈⡗⠀⠠⠁⣿⢃⣾⢳⠁⠀⠀⢰⣿⠀⠀⡐⢀⠀⠠⠀⢂⠁⣿⣯⠐⠀⠠⡀⠀⡀⠈⢣⠀⠐⣅⠠⢀⠀⠠⢀⢿⣿⢀⠂⠀⣿⠀⠀⡡⠀⢠⠍⢀⡄⠀⠌⡠⠀⠀⢻⣿⠋⠀⠀⣼ ⣿⣿⠃⠀⠐⢸⠃⠀⡈⠄⠀⣿⠂⢀⠂⠀⠀⠂⡇⠀⠀⠛⠀⠐⢠⡘⣷⡝⢦⢀⣾⠁⡀⠀⢸⡇⠀⠠⠁⣏⢸⠇⣎⠠⠀⠈⢿⣿⠀⠀⠌⡄⢂⠀⢌⠂⡜⣸⡷⢈⠀⠰⣇⠀⠐⡀⠀⢆⠀⠈⢷⣦⣌⣠⣯⣿⣿⠀⠀⠸⠃⠀⠐⡀⠀⠈⠀⢸⣧⠀⠐⢤⠁⠀⠠⡏⠀⡀⢠⣿ ⣿⠃⠀⠀⠀⠂⠀⢀⠔⠀⢸⡏⠀⠠⠀⢰⠀⠀⠹⣆⡀⢀⠠⠈⢄⡇⢻⣿⡄⣼⣿⠀⠀⠀⠿⠁⠀⠂⢱⡇⣾⢰⣿⠀⠄⠀⠀⠁⠀⢀⠂⣼⡄⢈⠂⡴⢱⣿⠋⢀⠀⢀⡿⠀⠠⡅⠀⠘⣆⠀⠀⠻⣿⣦⢹⣿⣿⠀⠀⠀⠀⢠⠁⠀⠀⠀⢂⠸⣿⠆⠀⠂⣇⠀⠀⡗⠀⠀⠈⣿ ⠃⠀⠠⠀⠀⠀⠀⡼⠀⠀⠈⠀⠀⡡⠀⢸⡇⠀⠂⢻⣟⢦⡀⠐⢨⡗⣿⣿⢧⣏⢏⣧⠀⡀⠀⡀⠄⢡⣾⢁⣿⡎⢯⣷⣈⠐⠠⠐⠠⢂⡰⣿⡗⢀⡾⢡⣿⡏⠀⠀⠀⣼⡷⠀⠀⢼⠀⠀⣻⡄⠀⠂⣿⣿⡘⢿⢹⡆⠁⢂⣼⠁⠀⢀⡇⠀⠂⠀⠙⠀⠀⢰⡧⠈⠀⡇⠀⡀⠀⢻ ⠀⠀⡂⠀⠀⠀⡁⣿⡀⠄⡀⠐⣰⠁⠀⢸⣧⠀⠐⡀⣿⣦⠹⣆⣸⠛⣸⢻⢼⣿⢸⣿⡷⣦⣦⡴⢾⣿⣟⡆⣿⠻⣮⢳⣿⢿⣶⢷⡿⠏⢁⣿⠃⠜⣴⣸⢿⡅⠐⠀⢠⣿⡿⠀⠠⢸⠀⠀⢸⡇⠀⠁⣾⢹⡇⢸⡇⣷⢄⣿⡇⠠⠀⢸⣇⠀⠈⣄⠀⠀⣠⣿⠇⠀⠀⠁⠀⡐⠀⢘ ⠀⠀⡇⠀⠀⠀⠄⢸⣷⣄⠀⣾⣗⢈⠀⠈⠛⠂⠀⠄⣺⣿⣧⢹⠇⣰⢏⣿⢸⢻⣧⢻⣽⣷⡿⣿⣍⠿⣿⠂⣿⢷⢙⢷⣝⡮⣿⠋⣡⡾⢟⡿⢂⣾⡇⣿⣿⡆⠀⠀⢸⡿⠁⠀⠀⣾⡀⠂⠀⠀⠀⣠⡟⣼⢧⡘⣷⡔⣿⣿⣇⠐⠀⠈⠛⠀⠀⢸⣧⠴⣹⡟⠀⠀⠀⠀⣰⠁⠀⢸ ⣆⠀⠘⣄⠀⡀⠈⠄⠻⣧⠻⣿⡿⣀⠂⠄⡀⢀⠐⣠⣿⣿⣿⢃⣼⠋⣸⠇⣾⡇⡽⣧⡫⣿⢿⣿⢻⣄⠻⣧⠸⡞⣿⢶⣝⢿⣶⣾⢫⣴⣾⣗⣾⡿⡁⢿⣹⣧⠈⡀⠀⠀⠀⢀⣼⣿⡵⡶⢤⣴⣾⢟⣼⡟⣼⢧⣟⢿⡈⢿⢿⣄⡂⠀⠀⠀⣠⣿⣯⣾⠟⣀⣀⣤⣴⡾⠏⠀⠀⣾ ⣿⣆⠀⠈⠳⢦⣤⣂⣈⡘⢷⣝⠻⣍⡲⢤⣌⣤⣾⡵⠟⣡⣴⠏⢠⡾⠋⣸⡿⣽⠙⠶⣝⡻⢮⣻⣷⠉⡻⠾⣦⣛⢽⣆⡙⠷⣬⣷⡟⢉⠃⢻⢉⠆⠘⠌⢧⣏⡳⢤⣥⡬⡔⣋⣾⣿⣷⣾⣿⡯⢒⣫⡭⢸⡟⠸⡟⠹⣷⠈⠷⣝⡻⢟⡶⣿⣿⠿⣻⣧⣾⣿⣿⠟⠋⢀⠀⢀⣴⣿ ⣿⣿⣷⣦⣀⡂⠈⠉⠛⠛⠳⠙⠷⠌⠉⠛⠛⠋⠟⠒⠋⠉⠤⠘⠋⠁⠖⠋⠁⠘⠢⠐⠈⠉⠒⠨⠛⠷⠤⠉⠒⠢⠼⠽⠿⠶⠄⠙⠫⠀⠑⠺⠾⠄⠁⠂⠄⠘⠛⠚⠛⠟⠻⠛⠟⠛⠛⠋⠉⠐⠛⠉⠐⠋⠠⠀⠑⠠⠈⠑⠠⠀⠉⠉⠩⠉⠁⠚⠩⠉⠍⠑⠈⣀⣡⣴⣾⣿⣿⣿ ⣿⣿⣿⣿⣿⣿⣿⣿⣶⣶⣾⣿⣾⣿⣿⣿⣿⣿⣾⣿⣿⣿⣾⣿⣿⣿⣾⣿⣿⣿⣷⣿⣿⣿⣿⣿⣿⣾⣷⣿⣿⣿⣾⣷⣿⣾⣿⣿⣿⣿⣿⣷⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿⣿