Portal 2 is a first-person puzzle-platform video game developed by Valve Corporation. It was released in April 2011 for Windows, OS X, PlayStation 3, Xbox 360; the digital PC version is distributed online by Valve's Steam service, while all retail editions were distributed by Electronic Arts. Like the original Portal, players solve puzzles by teleporting between them. Portal 2 adds features including tractor beams, light bridges, paint-like gels that alter player movement or allow portals to be placed on any surface. In the single-player campaign, players control Chell, who navigates the dilapidated Aperture Science Enrichment Center during its reconstruction by the supercomputer GLaDOS. In the new cooperative mode, players solve puzzles together as robots P-Body. Jonathan Coulton and the National produced songs for the game. Valve announced Portal 2 in March 2010, promoted it with alternate reality games including the Potato Sack, a collaboration with several independent game developers. After release, Valve released downloadable content and a simplified map editor to allow players to create and share levels.
Portal 2 received acclaim for its gameplay, balanced learning curve, dark humor and acting. It has been described as one of the greatest video games of all time by numerous publications and critics. Portal 2 is a first-person perspective puzzle game; the player takes the role of Chell in the single-player campaign, as one of two robots—Atlas and P-Body—in the cooperative campaign, or as a simplistic humanoid icon in community-developed puzzles. These four characters can interact with the environment. Characters will die after sustained injury. There is no penalty for falling onto a solid surface, but falling into bottomless pits or toxic pools kills the player character immediately; when Chell dies in the single-player game, the game restarts from a recent checkpoint. The goal of both campaigns is to explore the Aperture Science Laboratory—a complicated, malleable mechanized maze. While most of the game takes place in modular test chambers with defined entrances and exits, other parts occur in behind-the-scenes areas where the objective is less clear.
The initial tutorial levels guide the player through the general movement controls and illustrate how to interact with the environment. The player must solve puzzles using the'portal gun' or'Aperture Science Handheld Portal Device', which can create two portals connecting two distant surfaces depicted as matte white and flat. Characters can use these portals to move between rooms or to "fling" objects or themselves across a distance. Outlines of placed portals are visible through other obstacles for easy location. Game elements include Thermal Discouragement Beams, Excursion Funnels, Hard Light Bridges, all of which can be transmitted through portals. Aerial Faith Plates launch the player or objects through the air and sometimes into portals; the player must avoid their line of sight. The Weighted Storage Cube has been redesigned, there are new types: Redirection Cubes, which have prismatic lenses that redirect laser beams, spherical Edgeless Safety Cubes, an antique version of the Weighted Storage Cube used in the underground levels, a cube-turret hybrid created by Wheatley after taking control of Aperture.
The heart-decorated Weighted Companion Cube reappears briefly. Early demonstrations included Pneumatic Diversity Vents, shown to transport objects and transfer suction power through portals, but these do not appear in the final game. All of these game elements open locked doors, or help or hamper the character from reaching the exit. Paint-like gels impart certain properties to objects coated with them. Players can use orange Propulsion Gel to cross surfaces more blue Repulsion Gel to bounce from a surface, white Conversion Gel to allow surfaces to accept portals. Only one type of gel can affect a certain surface at a time; some surfaces, such as grilles, cannot be coated with a gel. Water can wash away gels, returning the surface or object to its normal state; the game includes a two-player cooperative mode. Two players can use a separate computer or console. Both player-characters are robots that control separate portal guns and can use the other character's portals; each player's portals are of a different color scheme, whereof one is blue and purple and the other is orange and red.
A calibration chamber separates the characters to teach the players to use the communication tools and portals. Most chambers are less structured and require players to use both sets of portals for laser or funnel redirection and other maneuvers; the game provides voice communication between players, online players can temporarily enter a split-screen view to help coordinate actions. Players can "ping" to draw the other player's attention to walls or objects, start countdown timers for synchronized actions, perform joint gestures such as waving or hugging; the game tracks which chambers each player has completed and allows players to replay chambers they have completed with new partners. Portal 2's lead writer Erik Wolpaw estimates each campaign to be about six hours long. Portal 2 contains in-game commentary from
Win Win (film)
Win Win is a 2011 American sports comedy-drama film directed and written by Tom McCarthy. The main characters are played by Paul Giamatti, Alex Shaffer, Amy Ryan, Bobby Cannavale, Jeffrey Tambor, Burt Young and Melanie Lynskey. Small-town New Providence, New Jersey, attorney Mike Flaherty moonlights as a wrestling coach and struggles to keep his practice solvent, while shielding his wife Jackie and their two young girls and Stella, from the extent of the problem; when his court-appointed client, Leo Poplar, suffering from early dementia, turns out to have no locatable relatives, he persuades a judge to appoint him as guardian, for which he will receive a stipend of $1,508 per month. Mike, has no intention of taking care of Leo and moves him to a senior care facility while he continues to get paid for guardianship; when Leo's troubled teenage grandson, Kyle shows up from Columbus, looking to live with him and Jackie let him stay with them instead. Kyle tries to break into Leo's old house, when Mike and Jackie question him about it, he reveals his troubled family life: His mom is in rehab, she lives with her boyfriend, he doesn't want to go back.
Upon hearing this, Jackie lets him stay in their household. After Kyle sits in on practice, they discover that he is a talented wrestler and enroll him at Mike's high school, where he can resume his education and wrestle on Mike's losing team, helping to make them viable contenders in their league; this "everyone benefits" setup is disrupted. Cindy attempts to gain custody of her father and her son, with them her father's substantial estate. However, Mike explains to Cindy and her lawyer that Leo had disinherited her from his will, causing her to become furious. Cindy calls Kyle to her hotel room to show him court documents proving that Mike is supposed to keep Leo at home and not at the elderly home. Kyle reacts violently towards his mother before running away. Upon learning the truth about Mike, the boy rejects him as a money-seeking opportunist no better than his mother. Realizing the mistake of his earlier actions, seeking instead to do what's best for both Leo and Kyle, Mike offers Cindy the monthly stipend in exchange for leaving them in his care.
He and Jackie take Kyle into their home permanently and return Leo to his, with Mike instead taking a job as a bartender to address his financial problems. Paul Giamatti as Mike Flaherty Alex Shaffer as Kyle Timmons Amy Ryan as Jackie Flaherty Bobby Cannavale as Terry Delfino Jeffrey Tambor as Stephen Vigman Burt Young as Leo Poplar Melanie Lynskey as Cindy Margo Martindale as Eleanor Cohen David W. Thompson as Stemler Mike Diliello as Jimmy Reed Nina Arianda as Shelly Marcia Haufrecht as Gina Flaherty Sharon Wilkins as Judge Lee Win Win received positive reviews from critics. On Rotten Tomatoes, the film has a rating of 94%, based on 166 reviews with an average rating of 7.8/10. The site's consensus states, "Rich, wonderful characters and strong performances populate Win Win, with writer/director Thomas McCarthy continuing to emerge as a great American humanist." On Metacritic, the film has a score of 75 out of 100, based on 34 critics, indicating "generally favorable reviews". Peter Travers of Rolling Stone gave the film 3.5 stars out of 4, calling the film a "gem and heartfelt with a tough core that repels all things sappy", "just about perfect."
Roger Ebert of the Chicago Sun-Times gave it 3 out of 4 stars, writing "You have a funny situation, there's some truth in it and unexpected characters, well-acted, you may not have a great film but you enjoy watching it." Steven Rea of The Philadelphia Inquirer gave it 3 out of 4 stars, writing " delivers a marvel of a performance—all the more so because we forget that he is performing." He concluded "Win Win doesn't quite hit the high notes of grace and revelation that The Station Agent and The Visitor achieved, but McCarthy and his able cast pull off a similar mix of humor and pathos and angst." Ty Burr of The Boston Globe wrote "Win Win is the most radical movie yet from writer-director Tom McCarthy, it may be one of the more daring movies to be released in America." Brooklyn-based indie rock band The National contributed an original song to the movie's soundtrack. The song is titled "Think You Can Wait" and features vocals from fellow Brooklyn musician Sharon Van Etten. Win Win on IMDb Win Win at AllMovie Win Win at Rotten Tomatoes Win Win at Box Office Mojo
Dark ambient is a genre of post-industrial music that features an ominous, dark droning and gloomy, monumental or catacombal atmosphere with discordant overtones. It shows similarities towards ambient music, a genre, cited as a main influence by many dark ambient artists, both conceptually and compositionally. Although electronically generated, dark ambient includes the sampling of hand-played instruments and semi-acoustic recording procedures, is related to ritual industrial music; the term dark ambient was coined in the early 1990s by Roger Karmanik to describe the music of Raison d'être and related artists that are associated with the Cold Meat Industry record label. Dark ambient has its roots in the 1970s, with the introduction of newer and more affordable effects units and sampling technology. Early genre elements can be found on Throbbing Gristle's 1978 album D.o. A: The Third and Final Report of Throbbing Gristle. Important early precursors of the genre were Tangerine Dream's early double-album Zeit, unlike most of their subsequent albums in abandoning any notion of rhythm or definable melody in favour of "darkly" sinuous disturbing sonics, Affenstunde by fellow krautrock band Popol Vuh.
Projects like Lustmord, Nocturnal Emissions, Zoviet France, evolved out of industrial music during the 1980s, were some of the earliest artists to create dark ambient music. These artists make use of industrial principles such as noise and shock tactics, but wield these elements with more subtlety. Additionally, ambient industrial has strong occultist tendencies, with a particular leaning toward magick, as expounded by Aleister Crowley, chaos magic giving the music a ritualistic flavor. Among the artists who produce ambient industrial/dark ambient are Controlled Bleeding, CTI, Coph Nia, Deutsch Nepal, Hafler Trio, Nocturnal Emissions, PGR, Thomas Köner, Zoviet France, Cabaret Voltaire, SPK, Lab Report, Akira Yamaoka, Robin Rimbaud, Vidna Obmana, Daniel Menche, Hwyl Nofio, Hieronymus Bosch, Final. Many of these artists are eclectic in their output, with much of it falling outside ambient industrial. Dark ambient consists of evolving dissonant harmonies of drones and resonances, low frequency rumbles and machine noises, sometimes supplemented by gongs, percussive rhythms, distorted voices and other found sounds processed to the point where the original sample cannot be recognized.
For example, entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires. The music tends to evoke a feeling of solitude, melancholy and isolation. However, while the theme in the music tends to be "dark" in nature, some artists create more organic soundscapes. Examples of such productions are those of Oöphoi, Alio Die, Mathias Grassow, Tau Ceti, Klaus Wiese; the Symphonies of the Planets series, a collection of works by Brain/Mind Research inspired by audible-frequency plasma waves recorded by the Voyager unmanned space probes, can be considered an organic manifestation of dark ambient. List of dark ambient artists List of electronic music genres
GLaDOS is an artificially intelligent computer system from the video game series Portal. GLaDOS appeared in The Lab and Lego Dimensions; the character was voiced by Ellen McLain. GLaDOS is responsible for testing and maintenance in the Aperture Science research facility in all titles. While GLaDOS appears in the first game to be a voice that guides the player, her words and actions become malicious as she makes her intentions clear; the second game, as well as the Valve created comic Lab Rat, reveals that she was mistreated by the scientists and used a neurotoxin to kill the scientists in the laboratory before the events of Portal. She is ostensibly destroyed at the end of the first game but returns in the sequel, in which she is comically supplanted and temporarily stuck on a potato battery; the inspiration for the character's creation extends from Wolpaw's use of a text-to-speech program while writing lines for the video game Psychonauts. Other game developers working on Psychonauts found the lines funnier as a result of the synthesized voice.
GLaDOS was intended to be present in the first area of Portal. Play testers were motivated to complete tests in the game due to her guidance. While the game was designed with other characters, they were removed, leaving GLaDOS as the only character players encounter; the physical appearance of GLaDOS went through several designs, one of which featured a large disk below her. McLain imitated dialog read aloud by a speech synthesizer with her own voice, processed to sound more robotic, performed songs in character during the closing credits of both entries in the series. "Still Alive" became hugely successful, notably appearing in the Rock Band game series, has been a popular song for YouTube users to cover. GLaDOS has been well received by critics and gamers, some of whom called her narcissistic, passive-aggressive and witty, she is considered one of the greatest video game characters among those created in the 2000s. Universally praised for her contributions to the caliber of Portal's narrative, GLaDOS received multiple awards for being the best new game character in 2007 from GameSpy, GamePro, X-Play.
A number of publications listed her as one of the all-time greatest video game villains, including IGN and Game Informer, both of which ranked her first. She has been the subject of significant critical analysis from both journalists and game developers, who have compared her to other villainous computer systems in fiction, including HAL 9000 from 2001: A Space Odyssey and SHODAN from System Shock. For much of Portal, GLaDOS serves as the narrator, guiding players through the test chambers, her voice is distinctly female. Over time, players learn; as Chell escapes her control, GLaDOS's announcements get personal and farcical. Her personality has been described as passive-aggressive, witty and sinister, she has a number of system personality cores installed into her in order to prevent her from killing anyone. At the climax of the game, Chell enters GLaDOS' chambers, where it is revealed that she's a complex artificial intelligence system composed of robotic parts hanging from a larger device. Once the player removes the first personality core, the morality core, GLaDOS' voice becomes less robotic and more sensual.
GLaDOS was designed as an artificial intelligence and research assistant meant to aid Aperture Science in competing with the Black Mesa Research Facility on the creation of portal technology. Proposed uses for GLaDOS included implementation as a fuel line ice inhibitor and disk operating system. GLaDOS is installed to serve as the Enrichment Center's central control computer, mounted in a large, sealed chamber alongside several control consoles and an incinerator, the latter being her eventual demise. Wheatley, a personality core attached to GLaDOS at a nondescript time, is introduced in Portal 2, he was designed with the purpose of inhibiting her personality. Through Wheatley, it's understood by the player that while GLaDOS is attached to the Aperture Science facility, she is driven to test due to a euphoric sensation induced by its completion. Upon being disconnected from the Aperture Science facility, GLaDOS treats Chell with more civility; the player learns that GLaDOS' personality was inherited from that of Caroline, the personal assistant of Aperture Science CEO Cave Johnson and is much warmer to Chell when under Caroline's influence.
In Portal, GLaDOS is Chell's only link with the situation. In stages of the center, GLaDOS admits to having lied to Chell about her progress, as part of a supposed "test protocol". GLaDOS becomes more sinister, Chell's trust in GLaDOS is tested when the AI directs Chell into a testing area populated with live-fire turrets, a course designed for military androids; the AI claims that the regular test chamber is unavailable due to "mandatory scheduled maintenance". GLaDOS uses the lure of cake and grief counseling to encourage Chell to continue, but at the final testing area, as Chell prepares to receive the supposed cake, GLaDOS attempts to incinerate Chell in a fire pit. Once Chell escapes, GLaDOS attempts claiming the pit was a final test. Chell travels through the bowels of the Enrichment Center, battling natural hazards and further turrets until she reaches GLaD
Platform games, or platformers, are a video game genre and subgenre of action game. In a platformer the player controlled character must jump and climb between suspended platforms while avoiding obstacles. Environments feature uneven terrain of varying height that must be traversed; the player has some control over the height and distance of jumps to avoid letting their character fall to their death or miss necessary jumps. The most common unifying element of games of this genre is the jump button, but now there are other alternatives like swiping a touchscreen. Other acrobatic maneuvers may factor into the gameplay as well, such as swinging from objects such as vines or grappling hooks, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves; these mechanics in the context of other genres, are called platforming, a verbification of platform. Games where jumping is automated such as 3D games in The Legend of Zelda series, fall outside of the genre. Platform games originated in the early 1980s, which were about climbing ladders as much as jumping, with 3D successors popularized in the mid-1990s.
The term describes games where jumping on platforms is an integral part of the gameplay and came into use after the genre had been established, no than 1983. The genre is combined with elements of other genres, such as the shooter elements in Contra, Beat'em up elements of Viewtiful Joe, adventure elements of Flashback, or role-playing game elements of Castlevania: Symphony of the Night. While associated with console gaming, there have been many important platform games released to video arcades, as well as for handheld game consoles and home computers. North America and Japan have played major parts in the genre's evolution. Platform themes range from cartoon-like games to science fantasy epics. At one point, platform games were the most popular genre of video game. At the peak of their popularity, it is estimated that between one-quarter and one-third of console games were platformers. No genre either before or since has been able to achieve a similar market share; as of 2006, the genre had become far less dominant, representing a two percentage market share as compared to fifteen percent in 1998, but is still commercially viable, with a number of games selling in the millions of units.
Since 2010, a variety of endless running platformers for mobile devices have brought renewed popularity to the genre. Platform games originated in the late 1970s - early 1980s. Most, but not all, early examples of platform games were confined to a static playing field viewed in profile. Space Panic, a 1980 arcade release by Universal, is sometimes credited as being the first platform game, though the distinction is contentious. While the player had the ability to fall, there was no ability to jump, so the game does not satisfy most modern definitions of the genre. However, it influenced the genre, with gameplay centered on climbing ladders between different floors, a common element in many early platform games. A difficult game to learn, Space Panic remained obscure as an arcade game, but the 1981 unauthorized clone Apple Panic was a hit for home computers. Another precursor to the genre from 1980 was Nichibutsu's Crazy Climber, which revolved around the concept of climbing vertically-scrolling skyscrapers.
Donkey Kong, an arcade game created by Nintendo and released in July 1981, was the first game that allowed players to jump over obstacles and across gaps, making it the first true platformer. It introduced a modern icon of the genre, under the name Jumpman. Donkey Kong was ported to many consoles and computers at the time, notably as the system-selling pack-in game for ColecoVision, a handheld version from Coleco in 1982; the game helped cement Nintendo's position as an important name in the video game industry internationally. The following year, Donkey Kong received a sequel, Donkey Kong Jr.. The third game in the series, Donkey Kong 3, was not a platformer, but it was succeeded by Mario Bros, a platform game that offered two-player simultaneous cooperative play; this title laid the groundwork for other popular two-player cooperative platformers such as Fairyland Story and Bubble Bobble, which in turn influenced many of the single-screen platformers that would follow. Beginning in 1982, transitional games emerged that did not feature scrolling graphics, but had levels that spanned several connected screens.
Pitfall!, released for the Atari 2600, featured broad, horizontally extended levels. It was a breakthrough for the genre. Smurf: Rescue in Gargamel's Castle was released on the ColecoVision that same year, adding uneven terrain and scrolling pans between static screens. Manic Miner and its sequel Jet Set Willy continued this style of multi-screen levels on home computers. Wanted: Monty Mole won the first award for Best Platform game in 1984; that same year, Epyx released Impossible Mission, which further expanded on the exploration aspect and laid the groundwork for such games as Prince of Persia. The term platform game is somewhat ambiguous when referring to games that predate the widespread, international use of the term; the concept of a platform game as it was defined in its earliest days is somewhat different from how the term is used today. Following the release of Donkey Kong, a genre of similarly-styled games emerged characterized by a profile view of tiers connected by ladders; these included Kangaroo, Canyon Climber, Miner 2049er, Lode Runner, Jumpman.
The two most common gameplay goals were to get to the top of the screen or to collect all of a particular item, both of which are found in Donkey Kong. The North Ame
The PlayStation 3 is a home video game console developed by Sony Computer Entertainment. It is the successor to PlayStation 2, is part of the PlayStation brand of consoles, it was first released on November 11, 2006, in Japan, November 17, 2006, in North America, March 23, 2007, in Europe and Australia. The PlayStation 3 competed against consoles such as Microsoft's Xbox 360 and Nintendo's Wii as part of the seventh generation of video game consoles; the console was first announced at E3 2005, was released at the end of 2006. It was the first console to use Blu-ray Disc as its primary storage medium; the console was the first PlayStation to integrate social gaming services, including the PlayStation Network, as well as the first to be controllable from a handheld console, through its remote connectivity with PlayStation Portable and PlayStation Vita. In September 2009, the Slim model of the PlayStation 3 was released, it no longer provided the hardware ability to run PS2 games. It was lighter and thinner than the original version, featured a redesigned logo and marketing design, as well as a minor start-up change in software.
A Super Slim variation was released in late 2012, further refining and redesigning the console. During its early years, the system had a critically negative reception, due to its high price, a complex processor architecture and a lack of quality games, but was praised for its Blu-ray capabilities and "untapped potential"; the reception would get more positive over time. The system had a slow start in the market but managed to recover after the introduction of the Slim model, its successor, the PlayStation 4, was released in November 2013. On September 29, 2015, Sony confirmed that sales of the PlayStation 3 were to be discontinued in New Zealand, but the system remained in production in other markets. Shipments of new units to Europe and Australia ended in March 2016, followed by North America which ended in October 2016. Heading into 2017, Japan was the last territory where new units were still being produced until May 29, 2017, when Sony confirmed the PlayStation 3 was discontinued in Japan.
The PlayStation 3 began development in 2001 when Ken Kutaragi the President of Sony Computer Entertainment, announced that Sony, IBM would collaborate on developing the Cell microprocessor. At the time, Shuhei Yoshida led a group of programmers within this hardware team to explore next-generation game creation. By early 2005, focus within Sony shifted towards developing PS3 launch titles. Sony unveiled PlayStation 3 to the public on May 16, 2005, at E3 2005, along with a boomerang-shaped prototype design of the Sixaxis controller. A functional version of the system was not present there, nor at the Tokyo Game Show in September 2005, although demonstrations were held at both events on software development kits and comparable personal computer hardware. Video footage based on the predicted PlayStation 3 specifications was shown; the initial prototype shown in May 2005 featured two HDMI ports, three Ethernet ports and six USB ports. Two hardware configurations were announced for the console: a 20 GB model and a 60 GB model, priced at US$499 and US$599, respectively.
The 60 GB model was to be the only configuration to feature an HDMI port, Wi-Fi internet, flash card readers and a chrome trim with the logo in silver. Both models were announced for a simultaneous worldwide release: November 11, 2006, for Japan and November 17, 2006, for North America and Europe. On September 6, 2006, Sony announced that PAL region PlayStation 3 launch would be delayed until March 2007, because of a shortage of materials used in the Blu-ray drive. At the Tokyo Game Show on September 22, 2006, Sony announced that it would include an HDMI port on the 20 GB system, but a chrome trim, flash card readers, silver logo and Wi-Fi would not be included; the launch price of the Japanese 20 GB model was reduced by over 20%, the 60 GB model was announced for an open pricing scheme in Japan. During the event, Sony showed 27 playable PS3 games running on final hardware. PlayStation 3 was first released in Japan on November 11, 2006, at 07:00. According to Media Create, 81,639 PS3 systems were sold within 24 hours of its introduction in Japan.
Soon after its release in Japan, PS3 was released in North America on November 17, 2006. Reports of violence surrounded the release of PS3. A customer was shot, campers were robbed at gunpoint, customers were shot in a drive-by shooting with BB guns, 60 campers fought over 10 systems; the console was planned for a global release through November, but at the start of September the release in Europe and the rest of the world was delayed until March. With it being a somewhat last-minute delay, some companies had taken deposits for pre-orders, at which Sony informed customers that they were eligible for full refunds or could continue the pre-order. On January 24, 2007, Sony announced that PlayStation 3 would go on sale on March 23, 2007, in Europe, the Middle East and New Zealand; the system sold about 600,000 units in its first two days. On March 7, 2007, the 60 GB PlayStation 3 launched in Singapore with a price of S$799; the console was launched in South Korea on June 16, 2007, as a single version equipped with an 80 GB hard drive and IPTV.
Following speculation that Sony was working on a'slim' model, Sony announced the PS3 CECH-2000 model on August 18, 2009, at the Sony Gamescom press conference
Artificial Heart (album)
Artificial Heart is the eighth studio album by rock musician Jonathan Coulton. After taking a long hiatus from songwriting after his successful 2006 Thing a Week project, Coulton started production on Artificial Heart after encouragement from John Flansburgh the album's producer. Unlike much of Coulton's previous work, Artificial Heart's original lyricism is non-comedic and contains few references to geek culture overall, instead opting for heavy themes of betrayal, commitment and surrender; the album began production after Coulton opened a few shows for They Might Be Giants in 2010. Sometime during these shows, Flansburgh suggested to Coulton that he put together a band and record an album professionally, to be produced by Flansburgh. In 2010, Coulton announced. Artificial Heart is a collaboration between Coulton and John Flansburgh, who encouraged Coulton to step outside the independent realm of his previous work and try many new things for the album, including recording with a full band in a professional studio.
Thus, Artificial Heart is the first Coulton album to be produced by someone other than Coulton himself, the first to be recorded in a studio, the first to be written for a full band. Artificial Heart is the first Coulton album to feature guest lead vocals and a duet. Artificial Heart has become Coulton's first album to chart, placing #1 on Billboard's Heatseekers Albums, #26 on Billboard's Rock Albums, #16 on Billboard's Alternative Albums, #125 on the Billboard 200. Jonathan Coulton - Vocals, ukulele, other things Chris Anderson - Bass Marty Beller - Drums Mauro Refosco - Percussion Joe McGinty - Keyboards Jon Spurney - Keyboards Suzanne Vega - Vocals on "Now I Am An Arsonist" Sara Quin - Vocals on "Still Alive" John Roderick - Vocals on "Nemeses" Dorit Chrysler - Theremin on "Still Alive" Stan Harrison - Saxophone Arrangement and Performance on "Sticking It To Myself" The album was released on September 2, 2011; the initial release is available as part of a "premium superfan pack" with extra merchandise, including a vinyl pressing and T-shirts, designed by Sam Potts.
The first track to be released from the album, was released online via Paste Magazine on July 28, 2011