in germany it's called a sharp s (ß)... in poland it's just called an acute s (ś)... in english it's a revival of the original germanic intention of quasi-interpolation that the other name for ß is intended for, to suggest: es und zee; as showecased by the example that's the title... the english have this "competence" riddled into them... they can interpolate the s with the z, and the z with the s... as long at the two letters are lodged deep enough in words, i.e. not as heads (primarily, since i do not know of any words ending with a -z)... e.g. zebra... saber... sophisticated... zero.

but in all honesty, it's not about that... even though that
stated, can become relevant some day, or other...

   it's more about su doku, no. 8966...
                as the categorißation clearly indicates,
a tough ******* to crack open into a complete
solution...
                 ha ha... if they won't bend with zeppelins
or messerschmitts, or a yunkers yu (yew) 390 -
tackle them with a ß.
                                         anyway, back to the su doku...
back to no. 8966... ******* is difficult,
he's not budging, so i resort to writing something,
        relaxing my eyes on letters, rather than,
something equivalent to what the chinese would
call the 4th book of the torah (book of numbers) -
               but what i'm playing at is...
                 the fourth dimension allusion...
          su doku isn't a pain-of-fact      x, y, z
conceptualisation...
                                          ­     it was conceptualised
by asians... no wonder you can become a bit cuckoo
solving the puzzle...
                                        or at least i do...
    i do have a blind-spot for super-fiendish
     and fiendish and even difficult puzzles...
                        but then i like to relax, and i'm not
going to allow my brain - which is fat -
              become invaded by killer-proteins of alzheimer -
in the same way i won't be told that my brain
     requires flexing... like a killer protein would like
it to flex, to then invade the plump and delicate *****...
ah yes!
             the conceptualisation schematic!
                                     it's based on coordination....
       \ | /
     _   9 _                                 so it starts off like that...
        / | \

   but then ***** off and does this:

      
     (5, 5) > (5, 6) < (5, 7) << (5, 1) <<< (5, 9) <<<< (5, 4) etc.

     (it's about positions, coordinates!
                         you're not talking x, y, z style graphs,
  you're talking x, y, z, g        graphs....
                              )       i.e. the worth of having two fivers
on the graph is good... by comparison having a fiver
and a six doesn't bring you closer to the solution,
      and the rest is just:       < less than << even more less
    <<< even even more less    <<<< les dennis?

in reverse?
     oh you mean the upper part of the spectrum?
in summary it's sorta like:
      the algebra of xxxxxxxxx
             and the punctuation <<<<<<<<<
      or yyyyyyyyy and >>>>>>>>>

and it goes likes this:

     (5, 5, 5, 5, 5, 5) > (5, 5, 5, 5, 5) > (5, 5, 5, 5) > (5, 5, 5) > (5, 5)

the difference is obvious... because it just is...
you don't apply the addition emphasis of the < or > mark...
because it's ****** obvious that you're adding the same
****** number to the su doku graph:

  obviously until you get to (5, 5, 5, 5, 5, 5, 5, 5, 5) -

   if you're serious about drinking, as i am, and you do
one of these puzzles?
                            the world of colour disappears....
and you're stuck on a ******* carousel -
                     and you're thinking:
      what are these l.s.d. junkies on about
                  trying to see more colour than necessary?
try this!
                          it's a bit like a nostalgia
                    for black & white cinema...
                                                      s­ilent movies?
n'ah... that's going too far back.