title: Who's Afraid of Virginia Woolf? (film)

text: As filming began, the Catholic Legion of Motion Pictures (formerly the Catholic Legion of Decency), issued a preliminary report that, if what they heard was true, they might have to issue "Virginia Woolf" with the once-dreaded "condemned" rating, although they promised to wait to see the film. The Motion Picture Association of America (MPAA) followed with an even stronger statement, warning the studio—without promising to wait for a screening—that if they were really thinking of leaving the Broadway play's language intact, they could forget about getting a seal of approval.


title: Who's Afraid of Virginia Woolf? (film)

text: Most of the film's exteriors were shot on location at Smith College, Northampton, Massachusetts. Nichols insisted on this for verisimilitude, but later stated that he had been misguided, that it added nothing artistically, and that these scenes could as well have been shot on any sound stage.


title: Who's Afraid of Virginia Woolf? (film)

text: The film's music is an original score by Alex North. At the time of the film's release, Warner Bros. Records released a gatefold two-LP record soundtrack album set that included the entire film's dialogue as the "Deluxe Edition Two-Record Set". The music was issued as a one-LP release that featured 11 tracks of North's score.


title: Who's Afraid of Virginia Woolf? (film)

text: The film adaptation differs slightly from the play, which has only four characters. The minor characters of the roadhouse owner, who has only a few lines of dialogue, and his wife, who serves a tray of drinks and leaves silently, were played by the film's gaffer, Frank Flanagan, and his wife, Agnes.


title: Who's Afraid of Virginia Woolf? (film)

text: The play is set entirely in Martha and George's house. In the film, one scene takes place at the roadhouse, one in George and Martha's yard, and one in their car. Despite these minor deviations, however, the film is extremely faithful to the play. The filmmakers used the original play as the screenplay and, aside from toning down some of the profanity slightly—Martha's "Screw you!" (which, in the 2005 Broadway revival, is "Fuck you!") becomes "God damn you!"—virtually all of the original dialogue remains intact, although a major monologue by Martha is cut. (In the version released in the UK, "Screw you" is kept intact. In an interview at the time of the release, Taylor referred to this phrase as pushing boundaries.)


title: Who's Afraid of Virginia Woolf? (film)

text: Warner Bros. studio executives sat down to look at a rough cut, without music, and a "Life" magazine reporter was present. He printed the following quote from one of the studio chiefs: "My God! We've got a seven million dollar dirty movie on our hands!"


title: Who's Afraid of Virginia Woolf? (film)

text: The film was considered groundbreaking for having a level of profanity and sexual implication unheard of at that time. Jack Valenti, who had just become president of the MPAA in 1966, had arranged to update the old Production Code. For the film to be released with MPAA approval, Warner Bros. agreed to deletions of certain profanities and to have a special warning placed on all advertisements for the film, indicating adult content. In addition, all contracts with theatres exhibiting the film included a clause to prohibit anyone under 18 from admittance without adult supervision. Even the National Catholic Office for Motion Pictures (NCOMP) refused to "condemn" the film, with the office ruling it "morally unobjectionable for adults, with reservations". This film and Michelangelo Antonioni's "Blow-Up" (1966) led Valenti to begin work on the MPAA film rating system that went into effect on November 1, 1968. It is also said that Jack L. Warner chose to pay a fine of $5,000 in order to remain as faithful to the play (and its profanity) as possible.


title: Who's Afraid of Virginia Woolf? (film)

text: "Who's Afraid of Virginia Woolf?" premiered on June 21, 1966, at the Pantages Theatre in Hollywood. The film went on to become a financial success, earning a North American rental gross of $14.5 million, which made it the third-highest-grossing film of 1966.


title: Who's Afraid of Virginia Woolf? (film)

text: The film was first released on DVD in North America on October 1, 1997. It has since been re-released in a two-disc special edition that was concurrently released across North America and much of Europe. To coincide the film's 50th anniversary, Warner Archive Collection released a manufacture-on-demand Blu-ray on May 3, 2016, that was sold exclusively to online retailers.


title: Who's Afraid of Virginia Woolf? (film)

text: Arthur D. Murphy of "Variety" wrote the film was a "[k]een adaptation and handsome production by Ernest Lehman, outstanding direction by Mike Nichols in his feature debut, and four topflight performances score an artistic bullseye." He praised Taylor's performance, writing that her "characterization is at once sensual, spiteful, cynical, pitiable, loathsome, lustful and tender." James Powers of "The Hollywood Reporter" wrote the film "is an instant film classic, and Warner Bros. deserves the highest credit for making it a movie without compromise." Powers wrote that Taylor "reaches the fullest of her powers as Martha. The actress' beauty and the richness of her personal life have repeatedly obscured the fact that she can be, when she cares to be, an actress of extraordinary power... Miss Taylor is a prime reason the film seems so very seldom a drama, and almost always a violation of privacy, captured with hidden cameras and microphones." Kate Cameron of the "New York Daily News" wrote Taylor gave "the outstanding acting role of her career" and was "nothing less than brilliant" as Martha.


title: Who's Afraid of Virginia Woolf? (film)

text: Stanley Kauffmann of "The New York Times" praised Nichols's direction, writing he had "minimized the 'stage' feeling, and he has given the film an insistent presence, good phrasing and a nervous drive. It sags toward the end, but this is because the third act of the play sags." Of Burton's performance, Kauffmann noted he was "utterly convincing as a man with a great lake of nausea in him, on which he sails with regret and compulsive amusement"; he also praised Taylor for delivering "the best work of her career". A review in "Time" magazine noted Nichols "does more to enrich "Virginia Woolf" emotionally. Beneath the surface battles of this love-hate saga, he subtly works in evidence of the rough affection between George and Martha, their easy habits of togetherness and mellowed private jokes; and the characters develop more recognizable human frailty than they ever showed on stage."


title: Who's Afraid of Virginia Woolf? (film)

text: In his review for "The New York Times", Bosley Crowther wrote, "Miss Taylor and Mr. Burton are splendid, providing quite as much as the play permits of sharp psychological dissection of the older, corrosive pair. Perhaps Mr. Nichols's direction allows them to punch too hard at times." He also expressed disappointment that Nichols "was not able to get more from the roles of the other couple, whom George Segal and Sandy Dennis play." Andrew Sarris of "The Village Voice" felt the "movie isn't all that good, but it's reasonably entertaining and effective within certain limitations, some evitable and some inevitable. Why Jack Warner should be applauded for bringing a Broadway hit to the screen is a bit beyond me."


title: Who's Afraid of Virginia Woolf? (film)

text: On the review aggregator website Rotten Tomatoes, the film has an approval rating of 96% based on 45 reviews, with an average rating of 8.50/10. The website's critical consensus reads, "Led by a volcanic performance from Elizabeth Taylor, "Who's Afraid of Virginia Woolf?" is a scathing adaptation of the Edward Albee play that serves as a brilliant calling card for debuting director Mike Nichols." At Metacritic, which assigns a weighted mean rating to reviews, the film has a score of 75 based on 11 critics, indicating "generally favorable reviews".


title: Who's Afraid of Virginia Woolf? (film)

text: The film is one of only two films (the other is "Cimarron") to be nominated in every eligible category at the Academy Awards. Each of the four actors was nominated for an Oscar but only Elizabeth Taylor and Sandy Dennis won, respectively for Best Actress and Supporting Actress. The film also won the Black and White Cinematography award for Haskell Wexler's stark, black-and-white camera work (it was the last film to win before the two cinematography categories were combined into one), Best Costume Design and for Best Art Direction (Richard Sylbert, George James Hopkins). It was the first film to have its entire credited cast be nominated for acting Oscars, a feat only accomplished two other times, with "Sleuth" in 1972 and "Give 'em Hell, Harry!" in 1975.


title: Who's Afraid of Virginia Woolf? (film)

text: In "AFI's 100 Years... 100 Movies (10th Anniversary Edition)", "Who's Afraid of Virginia Woolf?" ranked 67.


title: Who's Afraid of Virginia Woolf? (film)

text: In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


title: Who's Afraid of Virginia Woolf? (film)

text: Paul Mavis of DVD Talk, reviewing Warner Bros.'s 2006 "Elizabeth Taylor and Richard Burton: The Film Collection" disc release of "Who's Afraid of Virginia Woolf?", wrote, ""Who's Afraid of Virginia Woolf?" exists now as one of the seminal dramas of the modern screen. And its existence counterbalances every gauche public display the Burtons perpetrated, every ream of wasted newsprint devoted to their sometimes silly, outsized lives, and every mediocre film they made before and after its production. It is the peak of their collective and individual careers. And they would never recover from it."


title: 2K22 Tunguska

text: The 2K22 Tunguska () is a Soviet and now Russian tracked self-propelled anti-aircraft weapon armed with a surface-to-air gun and missile system. It is designed to provide day and night protection for infantry and tank regiments against low-flying aircraft, helicopters, and cruise missiles in all weather conditions. The NATO reporting name for the missile used by the weapon system is SA-19 "Grison".


title: 2K22 Tunguska

text: Development of the 2K22 anti-aircraft system began on 8 June 1970. At the request of the Soviet Ministry of Defense, the KBP Instrument Design Bureau in Tula, under the guidance of the appointed Chief Designer A. G. Shipunov, started work on a 30mm anti-aircraft system as a replacement for the 23mm ZSU-23-4.


title: 2K22 Tunguska

text: The project, code-named "Tunguska", was undertaken to improve on the observed shortcomings of the ZSU-23-4 (short range and no early warning) and a counter to new ground attack aircraft in development, such as the A-10 Thunderbolt II, which was designed to be highly resistant to 23 mm cannons. Studies were conducted and demonstrated that a 30 mm cannon would require from a third to a half of the number of shells that the 23 mm cannon of the ZSU-23-4 would need to destroy a given target, and that firing at a MiG-17 (or similarly at, in case of war, NATO's Hawker Hunter or Fiat G.91) flying at , with an identical mass of 30 mm projectiles would result in a kill probability 1.5 times greater than with 23 mm projectiles. An increase in the maximum engagement altitude from and increased effectiveness when engaging lightly armoured ground targets were also cited.


title: 2K22 Tunguska

text: The initial requirements set for the system were to achieve twice the performance in terms of range, altitude and combat effectiveness of the ZSU-23-4, additionally the system should have a reaction time no greater than 10 seconds. Due to the similarities in the fire control of artillery and missiles, it was decided that the Tunguska would be a combined gun and missile system. A combined system is more effective than the ZSU-23-4, engaging targets at long-range with missiles, and shorter range targets with guns.


title: 2K22 Tunguska

text: In addition to KBP as the primary contractor, other members of the Soviet military-industrial complex were involved in the project; the chassis was developed at the Minsk tractor factory, the radio equipment at the Ulyanovsk Mechanical Factory, central computer at NIEMI ("Antey"), guidance and navigational systems by VNII "Signal", and optics were developed by the Leningrad Optical Mechanical Association (LOMO).


title: 2K22 Tunguska

text: However, development was slowed between 1975 and 1977 after the introduction of the 9K33 Osa missile system, which seemed to fill the same requirement but with greater missile performance. After some considerable debate, it was felt that a purely missile-based system would not be as effective at dealing with very low flying attack helicopters attacking at short range with no warning as had been proven so successful in the 1973 Arab-Israeli War. Since the reaction time of a gun system is around 8–10 seconds, compared to approximately 30 seconds for a missile-based system, development was restarted.


title: 2K22 Tunguska

text: The initial designs were completed in 1973, with pilot production completed in 1976 at the Ulyanovsk Mechanical Factory. System testing and trials were conducted between September 1980 and December 1981 on the Donguzskiy range. It was officially accepted into service on 8 September 1982 and the initial version, which was designated 2K22/2S6, had four missiles in the ready to fire position (two on each side) and two 2A38 autocannons. The Tunguska entered into limited service from 1984, when the first batteries were delivered to the army.


title: 2K22 Tunguska

text: After a limited production run of the original 2K22, an improved version designated 2K22M/2S6M entered service in 1990. The 2K22M featured several improvements with eight ready-to-fire missiles (four on each side) as well as modifications to the fire control programs, missiles and the general reliability of the system, and improved autocannons, 2A38M.


title: 2K22 Tunguska

text: Tunguska underwent further improvement when, in 2003, the Russian armed forces accepted the Tunguska-M1 or 2K22M1 into service. The M1 introduced the new 9M311-M1 missile, which made a number of changes allowing the 2K22M1 to engage small targets like cruise missiles by replacing the eight-beam laser proximity fuze with a radio fuse. An additional modification afforded greater resistance to infrared countermeasures by replacing the missile tracking flare with a pulsed IR beacon. Other improvements included an increased missile range from , improved optical tracking and accuracy, improved fire control co-ordination between components of a battery and the command post. Overall, the Tunguska-M1 has a combat efficiency 1.3–1.5 times greater than the Tunguska-M.


title: 2K22 Tunguska

text: The GRAU index lists the "Tunguska" system as 2K22. A complete system or battery consists of six 2S6 combat vehicles armed with the 9M311 "Treugol'nik" (triangle) surface-to-air missile and two 2A38 30 mm cannons. These are accompanied by up to three 2F77 transloader trucks. The 2K22 is also associated with a variety of support facilities including the 2F55, 1R10 and 2V110 repair and maintenance vehicles, the MTO-AGZ workshop and the 9V921 test vehicle and others. These facilities provide maintenance for the 2K22 battery in the field as well as scheduled overhauls. Each system can attack six targets simultaneously (1 for each machine 2S6) limited in height of and a height of from −10° to 87°.


title: 2K22 Tunguska

text: The 2S6 combat vehicle uses the GM-352 and later GM-352M chassis developed and produced by the Minsk Tractor Plant (MTZ) which has six road wheels with hydropneumatic suspension on each side, a drive sprocket at the rear and three return rollers. An NBC system is also integrated into the chassis, which is armored to protect it from small arms fire. an automatic gear change and diagnostic capability are available with latest Tunguska-M1 which uses the new GM-5975 chassis developed and produced by MMZ. GM-5975.25 has a cruising range of and a maximum speed of . It can function in ambient temperatures of and up to an altitude of . It has an ability of climb hills with up to a 35° slope. Overall, the layout is similar to the previous ZSU-23-4 with a large central 360-degree rotating turret (designated the 2A40) containing the armament, sensors and three of the crew: the commander, gunner and radar operator. The driver sits in the front left of the hull, with a gas turbine APU to his right and the multi-fuel diesel engine in the rear of the hull.


title: 2K22 Tunguska

text: An electromechanically scanned parabolic E-band (10 kW power) target acquisition radar is mounted on the rear top of the turret that when combined with the turret front mounted J-band (150 kW power) monopulse tracking radar forms the 1RL144 (NATO:Hot Shot) pulse-Doppler 3D radar system, which can detect and track targets flying high as . Alongside the 1A26 digital computer and the 1G30 angle measurement system form the 1A27 radar complex. Tunguska-M has the 1RL144M radar with detection range and tracking range . The mechanically scanned target acquisition radar for the Tunguska-M1 offers a 360° field of view, a detection range of around and can detect targets flying as low as . Its tracking radar has a range of . A C/D-band IFF system is also fitted and designated 1RL138. The radar system is highly protected against various types of interference, and can work if there are mountains on the horizon, regardless of the background. The system is able to fire on the move using 30 mm cannons, although it must be stationary to fire missiles. The maximum target speed can be up to .


title: 2K22 Tunguska

text: Standard equipment of the 2S6 and 2S6M includes a computerized fire control system, heating, ventilation, NBC system, an automatic fire detection and suppression system, navigational equipment, night vision aids, 1V116 intercom, external communications system with an R-173 receiver -modernized in the 2S6M for better communication with the command post- and monitoring equipment. The vehicle also has protection against the effects of nuclear, biological and chemical weapons.


title: 2K22 Tunguska

text: A battery of six Tunguska can automatically receive fire control information via an encrypted radio link, this allows targets to be distributed between individual units from a Ranzhir or PPRU battery command post, which can receive target information from either AWACS or early warning radar or in the case of the PPRU its own radar equipment.


title: 2K22 Tunguska

text: Original system, with 9M311, 9M311K (3M87) or 9M311-1 missiles with a range of . Some of these early versions of the "Tunguska" system were known as "Treugol'nik" (Russian Треугольник—"triangle"). This system is mounted on the 2S6 integrated air defense vehicle.


title: 2K22 Tunguska

text: Main production system, with 9M311M (3M88) missiles and 2A38M autocannons. This integrated air defense vehicle 2S6M is based on the GM-352M chassis. 2F77M transporter-loader. 2F55-1, 1R10-1 and 2V110-1 repair and maintenance vehicles.


title: 2K22 Tunguska

text: Improved version with the 2S6M1 combat vehicle on a GM-5975 chassis, using the 9M311-M1 missile (range: ) and with an improved fire control system. Passed state trials and entered service with the Russian armed forces on 31 July 2003.


title: 2K22 Tunguska

text: The dual 2 30 mm cannons (as well as the later 2A38M) were designed by the KBP Instrument Design Bureau and manufactured by the Tulamashzavod Joint Stock Company. The cannons are fired alternatively with a combined rate of fire of between 3,900 and 5,000 rounds per minute (1,950 to 2,500 rpm for each gun), which gives a continuous fire time of 23–30 seconds before running out of ammunition, and have a muzzle velocity of . Bursts of between 83 and 250 rounds are fired as determined by the target type, with an engagement range between . HE-T and HE-I shells are used and fitted with a A-670 time and impact fuze which includes an arming delay and self destruct mechanism. The 2K22 can fire its cannons in two primary modes of operation, radar and optical. In radar mode, the target tracking is fully automatic, with the guns aimed using data from the radar. In optical mode, the gunner tracks the target through the 1A29 stabilized sight, with the radar providing range data.


title: 2K22 Tunguska

text: The system uses the same 9M311 (NATO: SA-19/SA-N-11) missile family as the naval CIWS Kashtan which can engage targets at a range of and to an altitude of the Tunguska-M1 uses the improved 9M311-M1 missile with an increased range of and an altitude of . The missile has two stages, a large booster stage with four folding fins, which boosts the missile to a velocity of . The second stage has four fixed fins, and four steerable control surfaces. The complete missile is around long and a mass of .


title: 2K22 Tunguska

text: Guidance is performed by the target tracking radar, it constantly relays target range, elevation and bearing to the fire-control computer, and on the basis of this data the computer generates the laying commands for the guns or the trajectory corrections for the missiles. A back-up tracking method can be used by the gunner, who uses the stabilized sight of the Tunguska to track the target in elevation and azimuth. The gunner is initially cued towards the target by the system's search radar. Once the missile is steered to within of the target, an active laser or radio fuse (9M311-M1) is triggered. A contact fuse is also fitted. The warhead weighs about , and is a continuous-rod system, consisting of long, diameter rods, which break into fragments weighing . The rods form a complete ring about from the missile.


title: 2K22 Tunguska

text: Variants of the 2K22 system have continued to serve in the Soviet and later Russian armed forces since their initial introduction in 1984. The 2K22 has also been inducted into the armed forces of a number of foreign states, most notably India. The 2K22 has been used in the 2008 South Ossetia war by Russian armed forces.


title: GlobalFoundries

text: GlobalFoundries Inc. (GF or GloFo) is a multinational semiconductor contract manufacturing and design company incorporated in the Cayman Islands and headquartered in Malta, New York. Created by the divestiture of the manufacturing arm of Advanced Micro Devices (AMD), the company was privately owned by Mubadala Investment Company, the sovereign wealth fund of the United Arab Emirates, until an initial public offering (IPO) in October 2021.


title: GlobalFoundries

text: The company manufactures chips designed for markets such as mobility, automotive, computing and wired connectivity, consumer internet of things (IoT) and industrial.


title: GlobalFoundries

text: As of 2021, GlobalFoundries is the fourth-largest semiconductor manufacturer; it produces chips for more than 7% of the $86 billion semiconductor manufacturing services industry. It is the only one with operations in Singapore, the European Union, and the United States: one 200 mm and one 300 mm wafer fabrication plant in Singapore; one 300 mm plant in Dresden, Germany; one 200 mm plant in Burlington, Vermont (where it is the largest private employer) and two 300 mm plants in the State of New York: one in East Fishkill and one in Malta.


title: GlobalFoundries

text: GlobalFoundries is a "Trusted Foundry" for the U.S. federal government and has similar designations in Singapore and Germany, including certified international Common Criteria standard (ISO 15408, CC Version 3.1).


title: GlobalFoundries

text: On October 28, 2021, the company sold shares in an IPO on the Nasdaq stock exchange at US$47 each, at the higher end of its targeted price range, and raised about US$2.6 billion.


title: GlobalFoundries

text: On October 7, 2008, AMD announced it planned to go fabless and spin off their semiconductor manufacturing business into a new company temporarily called The Foundry Company. Mubadala announced their subsidiary Advanced Technology Investment Company (ATIC) agreed to pay $700 million to increase their stake in AMD's semiconductor manufacturing business to 55.6% (up from 8.1%). Mubadala will invest $314 million for 58 million new shares, increasing their stake in AMD to 19.3%. $1.2 billion of AMD's debt will be transferred to The Foundry Company. On 8 December 2008, amendments were announced. AMD will own approximately 34.2% and ATIC will own approximately 65.8% of The Foundry Company.


title: GlobalFoundries

text: On March 4, 2009, GlobalFoundries was officially announced. On September 7, 2009, ATIC announced it would acquire Chartered Semiconductor for S$2.5 billion (US$1.8 billion) and integrate Chartered Semiconductor into GlobalFoundries. On January 13, 2010, GlobalFoundries announced it had finalized the integration of Chartered Semiconductor.


title: GlobalFoundries

text: On March 4, 2012, AMD announced they divested their final 14% stake in the company, which concluded AMD's multi-year plan to divest its manufacturing arm.


title: GlobalFoundries

text: As of 2015, the firm owned ten fabrication plants. Fab 1 is in Dresden, Germany. Fabs 2 through 7 are in Singapore. Fabs 8 through 10 are in the northeast United States. These sites are supported by a global network of R&D, design enablement, and customer support in Singapore, China, Taiwan, Japan, India, the United States, Germany, and the United Kingdom. In February 2017, the company announced a new 300 Fab [Fab 11] in China for growing semiconductor market in China.


title: GlobalFoundries

text: In 2016, GlobalFoundries licensed the 14 nm 14LPP FinFET process from Samsung Electronics. In 2018, GlobalFoundries developed the 12 nm 12LP node based on Samsung's 14nm 14LPP process.


title: GlobalFoundries

text: On August 27, 2018, GlobalFoundries announced it had cancelled their 7LP process due to a strategy shift to focus on specialized processes instead of leading edge performance.


title: GlobalFoundries

text: On January 29, 2019, AMD announced an amended wafer supply agreement with GlobalFoundries. AMD now has full flexibility for wafer purchases from any foundry at 7 nm or beyond. AMD and GlobalFoundries agreed to commitments and pricing at 12 nm for 2019 through 2021.


title: GlobalFoundries

text: On May 20, 2019, Marvell Technology Group announced it would acquire Avera Semi from GlobalFoundries for $650 million and potentially an additional $90 million. Avera Semi was GlobalFoundries' ASIC Solutions division, which had been a part of IBM's semiconductor manufacturing business. On February 1, 2019, GlobalFoundries announced the $236 million sale of its Fab 3E in Tampines, Singapore, to Vanguard International Semiconductor (VIS) as part of their plan to exit the MEMS business by December 31, 2019. on April 22, 2019, GlobalFoundries announced the $430 million sale of their Fab 10 in East Fishkill, New York, to ON Semiconductor. GlobalFoundries has received $100 million and will receive $330 million at the end of 2022 when ON Semiconductor will gain full operational control. The 300mm fab is capable of 65 nm to 40 nm and was a part of IBM. On August 15, 2019, GlobalFoundries announced a multi-year supply agreement with Toppan Photomasks. The agreement included Toppan acquiring GlobalFoundries' Burlington photomask facility.


title: GlobalFoundries

text: In February 2020, GlobalFoundries announced that its embedded magnetoresistive non-volatile memory (eMRAM) entered production which is the industry's first production ready eMRAM.


title: GlobalFoundries

text: In May 2020, GlobalFoundries stated it was fully abandoning its plans of opening Fab 11 in Chengdu, China due to reported rivalry between the latter and the US. This was three years after the manufacturer announced it would invest $10 billion to open the new fab; the fab was never brought online.


title: GlobalFoundries

text: On April 26, 2021, GlobalFoundries announced that effective immediately, it was transferring its global headquarters from Santa Clara, California to its Malta, New York campus (home to Fab 8).


title: GlobalFoundries

text: In August 2022, Google expanded its open-source chip design and manufacturing efforts by partnering with GlobalFoundries to develop an open-source process design kit (PDK) based on the foundry's 180nm node. In October 31, Google announced they would sponsor no-cost OpenMPW (multi-project wafer) shuttle runs for it in the coming months.


title: GlobalFoundries

text: On August 26, 2019, GlobalFoundries filed patent infringement lawsuits against TSMC and some of TSMC's customers in the US and Germany. GlobalFoundries claims TSMC's 7 nm, 10 nm, 12 nm, 16 nm, and 28 nm nodes have infringed on 16 of its patents. Lawsuits were filed in the U.S. International Trade Commission, the U.S. Federal District Courts in the Districts of Delaware, the Western District of Texas, the Regional Courts of Düsseldorf, and Mannheim in Germany. GlobalFoundries has named 20 defendants: Apple, Broadcom, MediaTek, Nvidia, Qualcomm, Xilinx, Arista, ASUS, BLU, Cisco, Google, Hisense, Lenovo, Motorola, TCL, OnePlus, Avnet/EBV, Digi-Key and Mouser. On August 27, TSMC announced it was reviewing the complaints filed, but are confident that the allegations are baseless and will vigorously defend its proprietary technology.


title: GlobalFoundries

text: On October 1, 2019, TSMC filed patent infringement lawsuits against GlobalFoundries in the US, Germany and Singapore. TSMC claimed GlobalFoundries' 12 nm, 14 nm, 22 nm, 28 nm and 40 nm nodes have infringed on 25 of its patents.


title: GlobalFoundries

text: On October 29, 2019, TSMC and GlobalFoundries announced a resolution to the dispute. The companies agreed to a new life-of-patents cross-license for all of their existing semiconductor patents as well as new patents to be filed by the companies in the next ten years.


title: GlobalFoundries

text: Fab 1, located in Dresden, Germany, is a 364,512 m plant which was transferred to GlobalFoundries on its inception: Fab 36 and Fab 38 were renamed Module 1 and Module 2, respectively. Each module can produce 25,000 300 mm diameter wafers per month.


title: GlobalFoundries

text: Module 1 is a 300 mm wafer production facility. It is capable of manufacturing wafers at 40 nm, 28 nm BULK and 22 nm FDSOI. Module 2 was originally named "(AMD) Fab 30" and was a 200 mm fab producing 30,000 Wafer Outs Per Month, but has now been converted into a 300 mm wafer fab. Together with other clean room extensions like the Annex they have a maximum full capacity of 80,000 of 300 mm wafers/month. (180,000 200 mm wafers/month equivalent), using technologies of 45 nm and below.


title: GlobalFoundries

text: In September 2016, GlobalFoundries announced Fab 1 would be refit to produce 12 nm fully depleted silicon on insulator (FDSOI) products. The company expected customer's products would begin to tape out in the first half of 2019.


title: GlobalFoundries

text: Fab 7, located in Woodlands, Singapore, is an operational 300 mm Fab, originally owned by Chartered Semiconductor. It produces wafers at 130 nm to 40 nm on bulk CMOS and SOI processes. It has a maximum full capacity of 50,000 300 mm wafers/month (112,500 200 mm wafers/month equivalent), using 130 to 40 nm technology.


title: GlobalFoundries

text: Fab 8, located in Luther Forest Technology Campus, Saratoga County, New York, United States is a 300 mm fab. This fabrication plant was constructed by GF as a green field fab for advanced technologies. It is capable of manufacturing 14 nm node technology. The plant's construction began in July 2009 and the company started mass production in 2012. It has a maximum manufacturing capacity of 60,000 of 300 mm wafers/month, or the equivalent of over 135,000 of 200 mm wafers/month. In September 2016, GlobalFoundries announced it would make a multibillion-dollar investment to refit Fab 8 to produce 7 nm FinFET parts starting in the second half of 2018. The process was planned to initially use deep ultraviolet lithography, and eventually transition to extreme ultraviolet lithography.


title: GlobalFoundries

text: However, in August 2018, GlobalFoundries made the decision to suspend 7 nm development and planned production, citing the unaffordable costs to outfit Fab 8 for 7 nm production. GlobalFoundries held open the possibility of resuming 7 nm operations in the future if additional resources could be secured. From this decision GlobalFoundries executed a shift in company strategy to focus more effort on FD-SOI manufacturing and R&D. Fab 8 serves a crucial function to supply AMD (Advanced Micro Devices) with CPU Wafers for its Zen line of microprocessors used in the Ryzen, Threadripper and Epyc lines of CPUs. The original Zen and the Zen+ CPUs are of a monolithic design which were produced at Global Foundries Malta Facilities in Malta, NY. Going forward AMD will pursue a multiple Chiplet Design with the Zen 2 microprocessor. The Zen 2 will consist of a 14/12 nm manufactured IO die surrounded by a number of 7 nm Core dies. When Global Foundries announced the suspension of 7 nm operations AMD executed a shift in plans transferring production of the 7 nm core dies to TSMC (Taiwan Semiconductor Corporation). There was speculation in some quarters as to where manufacture of the Core Dies would take place. In AMD's 2018 fourth quarter financial conference call which took place on January 29, 2019, AMD CEO Lisa Su announced the WSA (Wafer Supply Agreement) governing production and acquisition by AMD from GlobalFoundries had been amended for the seventh time. The amendment stated AMD would continue to procure 12 nm node and above from Global Foundries while giving AMD latitude to purchase 7 nm node manufactured wafers from any source free from paying any royalties. The agreement will run through 2024 and ensures that Global Foundries will have work for its Malta plant for that time period. Pricing commitments for Wafers runs through 2021 when it is likely the WSA will be amended again.


title: GlobalFoundries

text: Fab 10, located in East Fishkill, New York, United States, was previously known as IBM Building 323. It became part of GlobalFoundries operations with the acquisition of IBM Microelectronics. It currently manufactures technology down to the 14 nm node. In April 2019, it was announced that this fab has been sold to ON Semiconductor for $430m. The facility will be transferred over within three years.


title: GlobalFoundries

text: All 200 mm fabs except Fab 9 are located in Singapore, and originally owned by Chartered Semiconductor.


title: GlobalFoundries

text: Fab 2, located in Woodlands, Singapore. This fab is capable of manufacturing wafers at 600 to 350 nm for use in selected automotive IC products, High Voltage power management IC and Mixed-signal products.


title: GlobalFoundries

text: Fab 3/5, located in Woodlands, Singapore. This fab is capable of manufacturing wafers at 350 to 180 nm for use in high voltage IC's for small panel display drivers and mobile power management modules.


title: GlobalFoundries

text: Fab 3E, located in Tampines, Singapore. This fab produces 180 nm wafers for use in selected automotive IC products, High Voltage power management IC and Mixed-Signal products with embedded non-volatile memory technology.


title: GlobalFoundries

text: In January 2019 GlobalFoundries announced that it had agreed to sell its Fab 3E in Singapore to Vanguard International Semiconductor Corporation with transfer of ownership set to be completed on December 31, 2019.


title: GlobalFoundries

text: Fab 6 located in Woodlands, Singapore, is a copper fabrication facility that is capable of manufacturing integrated CMOS and RFCMOS products for applications such as Wi-Fi & Bluetooth devices at 180 to 110 nm processes. The facility was later converted to 300mm and merged with Fab 7, a facility for manufacturing products based on the 300 nm node.


title: GlobalFoundries

text: Fab 9, located in the village of Essex Junction, Vermont, United States, near Vermont's largest city of Burlington, became part of GlobalFoundries operations with the acquisition of IBM Microelectronics. The fab manufactures technologies down to the 90 nm node and is the largest private employer within the state of Vermont. The site also hosted a captive mask shop, with development efforts down to the 7 nanometer node, until it was sold to Toppan in 2019.


title: GlobalFoundries

text: The majority investor of GlobalFoundries, Abu Dhabi's Advanced Technology Investment Co., announced on September 6, 2009, that it has agreed to acquire Singapore-based Chartered Semiconductor Manufacturing Co. Ltd., for a total of $3.9 billion, with Chartered's operations being folded into GlobalFoundries.


title: GlobalFoundries

text: Chartered Semiconductor is a member of the Common Platform, IBM's semiconductor technology alliance. GlobalFoundries is a JDA partner of Common Platform Technology Alliance.


title: GlobalFoundries

text: In October 2014, GlobalFoundries received US$1.5 billion from IBM to accept taking over IBM's chip-manufacturing business unit, including a 200 mm fab (now Fab 9) in Essex Junction, Vermont, and a 300 mm fab (now Fab 10) in East Fishkill, New York. As part of the agreement, GlobalFoundries will be the sole provider of IBM's server processor chips for the next 10 years. The deal closed on July 1, 2015. IBM-India employees who moved over to GlobalFoundries as part of the acquisition are now part of its Bangalore office.


title: GlobalFoundries

text: In April 2019 ON Semiconductor and GlobalFoundries announced a $430 million agreement to transfer ownership of GlobalFoundries 300mm Fab 10 in East Fishkill, New York, to ON Semiconductor.


title: GlobalFoundries

text: GlobalFoundries' 22 nm FD-SOI process is second-sourced from STMicroelectronics. STMicroelectronics signed a sourcing and licensing agreement with Samsung for the same technology later.


title: GlobalFoundries

text: GlobalFoundries' 14 nm 14LPP FinFET process is second-sourced from Samsung Electronics. GlobalFoundries' 12 nm FinFET nodes are based on Samsung's 14nm 14LPP process.


title: Limbo (video game)

text: Limbo is a puzzle-platform video game developed by independent studio Playdead and originally published by Microsoft Game Studios for the Xbox 360. The game was released in July 2010 on Xbox Live Arcade, and has since been ported by Playdead to several other systems, including the PlayStation 3, Linux and Microsoft Windows. "Limbo" is a 2D side-scroller, incorporating a physics system that governs environmental objects and the player character. The player guides an unnamed boy through dangerous environments and traps as he searches for his sister. The developer built the game's puzzles expecting the player to fail before finding the correct solution. Playdead called the style of play "trial and death", and used gruesome imagery for the boy's deaths to steer the player from unworkable solutions.


title: Limbo (video game)

text: The game is presented in black-and-white tones, using lighting, film grain effects and minimal ambient sounds to create an eerie atmosphere often associated with the horror genre. Journalists praised the dark presentation, describing the work as comparable to film noir and German Expressionism. Based on its aesthetics, reviewers classified "Limbo" as an example of video games as an art form.


title: Limbo (video game)

text: "Limbo" received critical acclaim, but its minimal story polarised critics; some critics found the open-ended work to have deeper meaning that tied well with the game's mechanics, while others believed the lack of significant plot and abrupt ending detracted from the game. A common point of criticism from reviewers was that the high cost of the game relative to its short length might deter players from purchasing the title, but some reviews proposed that "Limbo" had an ideal length. The game has been listed among the greatest games of all time.


title: Limbo (video game)

text: "Limbo" was the third-highest selling game on the Xbox Live Arcade service in 2010, generating around $7.5 million in revenue. It won several awards from industry groups after its release, and was named as one of the top games for 2010 by several publications. Playdead's next title, "Inside", was released in 2016, and revisited many of the same themes presented in "Limbo".


title: Limbo (video game)

text: The player controls the boy throughout the game. As is typical of most two-dimensional platform games, the boy can run left or right, jump, climb onto short ledges or up and down ladders and ropes, and push or pull objects. "Limbo" is presented through dark, greyscale graphics and with minimalist ambient sounds, creating an eerie, haunting environment. The dark visuals also serve to conceal numerous lethal surprises, including such environmental and physical hazards as deadly bear traps on the forest floor, or lethal monsters hiding in the shadows. Among the hazards are glowing worms, which attach themselves to the boy's head and force him to travel in only one direction until they are killed.


title: Limbo (video game)

text: The game's second half features mechanical puzzles and traps using machinery, electromagnets, and gravity. Many of these traps are not apparent until triggered, often killing the boy. The player is able to restart at the last encountered checkpoint, with no limits placed on how many times this can occur. Some traps can be avoided and used later in the game; one bear trap is used to clamp onto an animal's carcass, hung from the end of a rope, tearing the carcass off the rope and allowing the branch and rope to retract upwards and allow the boy to climb onto a ledge otherwise out of reach. As the player will likely encounter numerous deaths before they solve each puzzle and complete the game, the developers call "Limbo" a "trial and death" game. Some deaths are animated with images of the boy's dismemberment or beheading, although an optional gore filter on some platforms blacks out the screen instead of showing these deaths. Game achievements (optional in-game goals) include finding hidden insect eggs and completing the game with five or fewer deaths.


title: Limbo (video game)

text: The primary character in "Limbo" is a nameless boy in search of his sister, who awakens in the middle of a forest on the "edge of hell" (the game's title is taken from the Latin "limbus", meaning "edge"), where he encounters a giant spider who tries to kill him. After using a trap to cut off the sharp points on half of the spider's legs, it retreats further into the forest, and the boy is allowed to pass. However, he is later caught in webs and spun into a cocoon. Shortly after freeing himself, he encounters a colony of other boys who actively try to kill him with traps, poison darts, and rocks; they later fall victim to the spider, whom the boy finally manages to kill after a short chase. At one point during his journey, he encounters a female character, who he thinks might be his sister, but is prevented from reaching her. The forest eventually gives way to a crumbling city environment, followed by industrial and flooded environments. On completion of the final puzzle, the boy is thrown through a pane of glass and back into the forest area from the beginning. After he wakes up, he walks a short distance until he again encounters the girl, who, upon his approach, stands up startled. At this point, the screen cuts to black, abruptly ending the game.


title: Limbo (video game)

text: According to Playdead co-founder Dino Patti and lead designer Jeppe Carlsen, Playdead's game director, Arnt Jensen, conceived "Limbo" around 2004. At that time, as a concept artist at IO Interactive, Jensen became dissatisfied with the increasingly corporate nature of the company. He had sketched a "mood image" of a "secret place" to get ideas, and the result, similar to the backgrounds of the final game, inspired Jensen to expand on it. Jensen initially tried on his own to program the game in Visual Basic around 2004, but found he needed more help and proceeded to create an art style trailer by 2006. He had only intended to use the trailer as a means to recruit a programmer to help him, but the video attracted substantial interest in the project from across the Internet, eventually leading him to meet with Patti, who was also dissatisfied with his job. Their collaboration led to the founding of Playdead. Although Patti helped in the first few months with programming, he realised that the project was much larger than the two of them could handle, and Patti developed the business around the game's expanded development.


title: Limbo (video game)

text: Initial development was funded personally by Jensen and Patti along with Danish government grants, including funding from the Nordic Game Program, while large investors were sought later in the development cycle. Jensen and Patti did not want to commit to major publishers, preferring to retain full creative control in developing the title. Jensen originally planned to release "Limbo" as a free Microsoft Windows title, but by this point, Jensen and Patti decided to make the game a retail title.


title: Limbo (video game)

text: Playdead chose to ignore outside advice from investors and critics during development, such as to add multiplayer play and adjustable difficulty levels, and to extend the game's length. According to Patti, Playdead felt these changes would break the integrity of Jensen's original vision. Patti also felt that the investors "tried to control the company with no usable knowledge or respect", citing that after Microsoft raised concerns about the death of the boy, "one of the investors suggested we make him appear older by giving him a moustache." Numerous iterations of the game took place during a -year development cycle, including changes Jensen had demanded to polish the title, some elements being added two months prior to the game's release. Patti stated that they "trashed 70%" of the content they had developed, due to it not fitting in well with the context of the game. The core development team size was about 8 developers, expanding to 16 at various stages with freelancers. Playdead developed the design tools for "Limbo" in Visual Studio; Patti commented they would likely seek third-party applications for their next project given the challenges in creating their own technology. Patti later revealed they had opted to use the Unity engine for their next project, citing the development of their custom engine for "Limbo" as a "double product, doing both engine and game", and that their "Limbo" engine is limited to monochromatic visuals.


title: Limbo (video game)

text: From the game's inception, Jensen set out three goals for the final "Limbo" product. The first goal was to create a specific mood and art style. Jensen wanted to create an aesthetic for the game without resorting to highly detailed three-dimensional models, and instead directed the art towards a minimalistic style to allow the development to focus its attention on the gameplay. Jensen's second goal was to only require two additional controls—jumping and grabbing—outside of the normal left-and-right movement controls, to keep the game easy to play. Finally, the finished game was to present no tutorial text to the player, requiring players to learn the game's mechanics on their own. The game was purposely developed to avoid revealing details of its content; the only tagline the company provided was, "Uncertain of his sister's fate, a boy enters Limbo." This was chosen so that players could interpret the game's meaning for themselves.


title: Limbo (video game)

text: Some aspects of "Limbo" bore out from Jensen's own past, such as the forest areas that were similar to forests around the farm where he grew up, and the spider coming from Jensen's arachnophobia. Jensen drew inspiration from film genres, including works of "film noir", to set the art style of the game; the team's graphic artist, Morten Bramsen, is credited with recreating that art style. Much of the game's flow was storyboarded very early in development, such as the boy's encounters with spiders and mind-controlling worms, as well as the overall transition from a forest to a city, then to an abstract environment. As development progressed, some of the original ideas became too difficult for the small team to complete. The storyline also changed; originally, the spider sequences were to be present near the end of the game, but were later moved to the first part. In retrospect, Jensen was aware that the first half of the game contained more scripted events and encounters, while the second half of the game was lonelier and puzzle-heavy; Jensen attributed this to his lack of oversight during the latter stages of development. Jensen purposely left the game with an open ending though with a specific interpretation only he knew, though noted after the game's release that some players, posting in forum boards, had suggested resolutions that were "scary close" to his ideas.


title: Limbo (video game)

text: The game's audio was created by Martin Stig Andersen, a graduate from the Royal Academy of Music in Aarhus. Andersen's specialisation was in acousmatic music, non-traditional music created from generated sounds that have no apparent visual source. He was drawn to work with Jensen on the game after seeing the initial trailer, having been drawn in by the expressions of the boy character; Andersen compared the early visuals to his acousmatic music: "you have something recognizable and realistic, but at the same time it's abstract". Andersen sought to create acousmatic music exclusively incorporating the sound effects of the game's environments. Two examples he pointed to was the use of electricity noises while in the presence of a ruined neon "HOTEL" sign, and silencing the wind sound as the spider approached the boy in the forest. Andersen avoided the use of easily recognizable sounds, distorting them when needed as to allow players to interpret the sounds' meanings for themselves. Andersen constructed most of the game's sounds through a number of "grains" instead of longer sound loops, allowing him to adjust the playback to give better feedback to the player without sounding repetitious; one example he cites was the use of separate sounds for the boy's toe and heel when they make contact with the ground, giving a more realistic sound for movement. Many reviews for the game stated that there was no music in "Limbo", but Andersen countered that his sound arrangements helped to evoke emotions; the acousmatic music was intended to leave room for interpretation by the player in the same manner as the game's art and story. Andersen noted that this helps with immersion within the game by making no attempt to control the emotional tone; "if [the players are] scared it will probably make them more scared when there's no music to take them by the hand and tell them how to feel". Due to fans' requests, Playdead released the game's soundtrack on iTunes Store on 11 July 2011.


title: Limbo (video game)

text: The gameplay was the second element created for the game, following the graphics created by Jensen. The gameplay was created and refined using rudimentary graphic elements to establish the types of puzzles they wanted to have, but aware of how these elements would be presented to the player in the released version. "Limbo" was designed to avoid the pitfalls of major titles, where the same gameplay mechanic is used repeatedly. Carlsen, initially brought aboard as a programmer for the custom game engine, became the lead designer after Playdead found him to be capable at creating puzzles. Carlsen stated that the puzzles within "Limbo" were designed to "[keep] you guessing all the way through". Jensen also wanted to make the puzzles feel like a natural part of the environment, and to avoid the feeling that the player was simply moving from puzzle to puzzle through the course of the game. Carlsen identified examples of puzzles from other games that he wanted to avoid. He wanted to avoid simple puzzles that gave the player little satisfaction in its solution, such as a puzzle in "" that involved simply moving a sun-lit mirror to specific points in a room. In contrast, Carlsen wanted to avoid making the puzzle so complex with many separate parts that the player would resort to trial-and-error and eventually come out with the solution without thinking about why the solution worked; Carlsen used an example of a puzzle from the 2008 "Prince of Persia" game that had seven different mechanics that he never bothered to figure out himself. Carlsen designed "Limbo" puzzles to fall between these limits, demonstrating one puzzle that only has three elements: a switch panel, an electrified floor, and a chain; the goal—to use the chain to cross the electrified floor—is immediately obvious to the player, and then tasks the player to determine the right combination of moves and timing to complete it safely. They often had to strip away elements to make the puzzles more enjoyable and easier to figure out. The decision to provide little information to the player was an initial challenge in creating the game. From their initial pool of about 150 playtesters, several would have no idea of how to solve certain puzzles. To improve this, they created scenarios before troublesome spots that highlighted the appropriate actions; for example, when they found players did not think about pulling a boat onto shore to use as a platform to reach a higher ledge, they presented the player with a box-pulling puzzle earlier to demonstrate the pulling mechanics.


title: Limbo (video game)

text: The team developed the game's puzzles by first assuming the player was "their own worst enemy", and made puzzles as devious as possible, but then scaled back their difficulty or added visual and audible aids as if the player was a friend. One example given by Carlsen is a puzzle involving a spider early in the game; the solution requires pushing a bear trap to snare the spider's legs in it. Early designs of this puzzle had the bear trap on the same screen as the spider, and Playdead found playtesters focused too much on the trap. The developers altered the puzzle to put the trap in a tree in an earlier off-screen section when facing the spider; the spider's actions would eventually cause this trap to drop to the ground and become a weapon against the spider. Carlsen stated that this arrangement created a situation where the player felt helpless when initially presented with the deadly spider, but then assisted the player through an audible cue when the trap had dropped, enabling the player to discover the solution.


title: Limbo (video game)

text: One animator was dedicated full-time during three years of the game's development to work out the boy's animations, including animations that showed anticipation on the player's actions or events in the game, such as reaching out for a cart handle as the player moved the boy near it. Jensen felt this was important as the character was always at the center of the player's screen, and the most important element to watch. Playdead included gruesome death sequences to highlight incorrect solutions and discourage players from repeating their mistakes. While they expected players to run the boy into numerous deaths while trying solutions, Carlsen stated that their goal was to ensure death wasn't a penalty in the game, and made the death animations entertaining to keep the player interested. Carlsen noted several early puzzles were too complex for the game, but they would end up using a portion of these larger puzzles in the final release.


title: Limbo (video game)

text: "Limbo" was released on 21 July 2010 on the Xbox Live Arcade service, as the first title in the yearly "Summer of Arcade" promotion. Although the Entertainment Software Rating Board (ESRB) had listed entries for "Limbo" for the PlayStation 3 and Microsoft Windows platforms, Playdead confirmed that this was a mistake on ESRB's part, and that they had no plans for the game on these systems. Patti later clarified that they had planned on Windows and PlayStation 3 versions alongside the Xbox 360 version initially, but after reviewing their options, decided to go with Xbox 360 exclusivity, in part that "Microsoft provided us with an excellent opportunity, which included a lot of support for the title which in the end would mean a better visibility for Limbo". According to producer Mads Wibroe, part of their decision not to release for the Windows platform was to avoid issues with software piracy, something they could control on the Xbox 360. Patti stated that staying exclusive with the Xbox platform was an assurance that they would be able to recoup their investment in the game's development. Sony Computer Entertainment executive Pete Smith stated later that while they had tried to vie with Microsoft for exclusivity for "Limbo", Playdead refused to relinquish its intellectual property to Sony as part of the deal. Patti affirmed that "Limbo" would not be released for another console, but that their next game, already in development as of October 2010, may see wider release.


title: Limbo (video game)

text: However, in June 2011, users found that a trailer for "Limbo" appeared on the Steam software service, which video game publications such as "PC Gamer" took as a preliminary sign that a Microsoft Windows version would be released. Similarly, a possible PlayStation 3 version was projected based on the title appearing on the Korea Media Rating Board in June 2011. On 30 June 2011, Playdead announced their ports of the game to the PlayStation 3 via the PlayStation Network, and to Microsoft Windows via Steam, later set for 19 July and 2 August 2011, respectively. Patti clarified that their change of mind from their earlier Xbox 360-exclusive approach was because "we want as many people to play our games as possible". The release was set for nearly a year after the original availability of the Xbox 360 version, after the expiration of the Xbox 360 exclusivity rights for the game. Both the PlayStation 3 and Windows versions of the game have additional secret content, according to Patti; it is unknown if this content will be added in a patch to the Xbox 360 version. Playdead has since published a Mac OS X version of the game through the Mac App Store in December 2011, fulfilling their promise to release the title before the end of 2011; though they had wanted to also release the Mac Steam version by then, this version was ultimately delayed to mid January 2012. A Linux version of the game, based on a Wine-encapsulated package prepared by CodeWeavers, premiered in the Humble Indie Bundle V charitable sales event in May 2012. A native port for Linux was later released on 19 June 2014, with porter Ryan C. Gordon bringing over the Wwise audio middleware that previously prevented a native port from being possible. The PlayStation Vita version of the game was developed by Playdead with assistance from the UK studio Double Eleven, and was released in June 2013. The Vita version does not use the handheld's touchpad features; Patti stated that they "didn't feel it would suit "Limbo" at all" and wanted to provide the "original experience" of the game to Vita players. The Vita version has Cross-play support with the PlayStation 3 version, allowing the user to buy the game once to play on either platform. The iOS version of the game was announced shortly before its release in July 2013, and was designed to optimize the game for use on the touchscreen devices.


title: Limbo (video game)

text: In April 2011, an Xbox 360 retail distribution of "Limbo" alongside other indie games "Trials HD" and "'Splosion Man" was released. Playdead began selling a "Special Edition" physical copy of "Limbo" for Microsoft Windows and Mac OS X, which included art cards, the game's soundtrack, and anaglyph stereoscopic glasses that work with a special version of the game to simulate three dimensions. The title was later ported to the Xbox One console and released in December 2014, with early adopters of the console getting the title for free; Microsoft's Phil Spencer called the title a "must have played" game that affected their decision to give the game to the majority of early adopters. The Xbox 360 version was added to the Xbox One backwards compatibility lists in November 2016. A PlayStation 4 version of the game was released in February 2015.


title: Limbo (video game)

text: In September 2017, 505 Games published "Limbo" along with Playdead's following title, "Inside", as dual-game retail package for Xbox One and PlayStation 4. A version of "Limbo" was released on the Nintendo Switch


title: Limbo (video game)

text: "Limbo" initial release on the Xbox 360 has received acclaim from video game critics and journalists; the subsequent release of the game for the PlayStation 3 and Microsoft Windows platforms received similar praise, holding Metacritic aggregate scores of 90/100 and 88/100, respectively, compared to the 90/100 earned by the Xbox 360 version. Some journalists compared "Limbo" to previous minimalist platform games such as "Another World", "Flashback", "Heart of Darkness", "", "Ico", "Portal" and "Braid". Reviews consistently noted "Limbo" short length for its higher selling price: two to five hours of gameplay for 15 euros or 15 U.S. dollars. Reviewers asserted this length-to-price ratio was the largest drawback for the game, and would be a deterrent for potential buyers. Some journalists contended that the length of the game was ideal; "The Daily Telegraph" Tom Hoggins considered the short game to have a "perfectly formed running time", while Daemon Hatfield of IGN commented that "it's better for a game to leave us wanting more than to overstay its welcome". Numerous independent game developers, in an organised "Size Doesn't Matter" effort, commented on the critical response to "Limbo" length-to-price ratio. The independent developers questioned the need to quantify that ratio, and noted that it only seems to be used as a factor in judging video games and not other forms of entertainment such as films.


title: Limbo (video game)

text: "Limbo" was generally praised for its puzzle design and the simplicity of its controls. Jake Gaskill of G4 TV was impressed by the complexity of the puzzles based on the two simple actions of jumping and grabbing onto objects, similar to "LittleBigPlanet", with a variety of elements to assure "you're always facing something new and challenging" during the game. "Game Informer" Matt Miller commented that part of the success of "Limbo" is that "every one of these [puzzles] stands alone"; the game accomplishes this in Miller's opinion by varying the elements throughout the game, and preventing the player from getting too accustomed to similar solutions since "everything changes". GameSpy's Ryan Scott believed that the game empowered the player to work through solutions themselves, and its puzzle design, "with its elegant simplicity, offers up what feels like a world of meaningful possibilities". The frequency of death was not considered a distraction from the game; not only were the deaths seen as necessary as part of learning and overcoming each obstacle, but reviewers found the checkpoints where the player would restart to be plentiful throughout the game. Will Freeman of "The Guardian" praised the game but noted that beyond the "smoke and mirrors" of "Limbo" artwork, the game is "undermined by the title's lack of innovative gameplay", which he says has been seen in earlier platform games.


title: Limbo (video game)

text: "Limbo" graphical and audio presentation were considered by reviewers as exceptional and powerful elements of the game. The monochrome approach, coupled with film grain filter, focusing techniques and lighting, were compared to both "film noir" and dreamlike tableaus of silent films, allowing the visual elements of the game to carry much of the story's weight. Cian Hassett of "PALGN" likened the effect to watching the game through an old-fashioned film projector that creates "one of the most unsettling and eerily beautiful environments" in video gaming. Garrett Martin of the "Boston Herald" compared the art style and game design decisions to German Expressionism with "dreamlike levels that twist and spin in unexpected angles". The art style itself was praised as minimalistic, and considered reminiscent of the art of Lotte Reiniger, Edward Gorey, Fritz Lang, and Tim Burton. The use of misdirection in the visuals was also praised, such as by using silhouettes to avoid revealing the true nature of the characters or shadows, or by showing human figures across a chasm who disappear once the player crossed the chasm.


title: Limbo (video game)

text: Reviewers found the sound effects within the game critical to the game's impact. Sam Machkovech, writing for "The Atlantic", called the sound direction, "far more colorful and organic than the fuzzed-out looks would lead you to believe". "Edge" magazine's review noted that the few background noises "[do] little else than contribute towards Limbo’s tone", while the sound effects generated by moving the boy character "are given an eerie clarity without the presence of a conventional soundtrack to cover them".


title: Limbo (video game)

text: IGN's Hatfield concluded his review by stating, "Very few games are as original, atmospheric, and consistently brilliant as Limbo". Chad Sapeiha of "The Globe and Mail" summarised his opinion of the game's atmosphere as an "intensely scary, oddly beautiful, and immediately arresting aesthetic." "Limbo" is said to be the first game to attempt a mix of the horror fiction genre with platform games. The game has been considered an art game through its visual and audio elements.


title: Limbo (video game)

text: The game's story and its ending have been open to much interpretation; the ending was purposely left vague and unanswered by Playdead. It was compared to other open-ended books, films and video games, where the viewer is left to interpret what they have read or seen. Some reviews suggested that the game is a representation of the religious nature of Limbo or purgatory, as the boy character completes the journey only to end at the same place he started, repeating the same journey when the player starts a new game. Another interpretation suggested the game is the boy's journey through Hell to reach Heaven, or to find closure for his sister's death. Another theory considers that either the boy or his sister or both are dead. Some theories attempted to incorporate details from the game, such as the change in setting as the boy travels through the game suggesting the progression of man from child to adult to elder, or the similarities and differences between the final screen of the game where the boy meets a girl and the main menu where what could be human remains stand in their places.


title: Limbo (video game)

text: The absence of direct narrative, such as through cutscenes or in-game text, was a mixed point for reviewers. John Teti of Eurogamer considered the game's base story to be metaphorical for a "story of a search for companionship", and that the few encounters with human characters served as "emotional touchstones" that drove the story forward; ultimately, Teti stated that these elements make "Limbo" "a game that has very few humans, but a surplus of humanity". Hatfield praised the simplicity of the game's story, commenting that, "with no text, no dialogue, and no explanation, it manages to communicate circumstance and causality to the player more simply than most games". Both Teti and Hatfield noted that some of the story elements were weaker in the second half of the game, when there are almost no human characters with whom the player comes into contact, but that the game ends with an unexpected revelation. GameSpot's Tom McShae found no issues with the game posing questions on "death versus life and reality versus dream", but purposely providing no answers for them, allowing the player to contemplate these on their own. McShae also considered that the brief but gruesome death scenes for the boy helped to create an "emotional immediacy that is difficult to forget". The "New York Daily News" Stu Horvath noted that "Limbo" "turns its lack of obvious narrative into one of the most compelling riddles in videogames".


title: Limbo (video game)

text: Other reviews disliked the lack of story or its presentation within "Limbo". Justin Haywald of 1UP.com was critical of the lacking narrative, feeling that the game failed to explain the purpose of the constructed traps or rationale for how the game's world worked, and that the final act left him "more confused than when [he] began". Haywald had contrasted "Limbo" to "Braid", a similar platform game with minimalistic elements which communicates its metaphorical story to the player through in-game text. Roger Hargreaves of "Metro" stated that the game has "very little evidence that [Playdead] really knew where they were going with the game", citing the second half, when the player is traveling through a factory-type setting and where he felt the game became more like a typical two-dimensional platform game, and led to an anticlimactic ending; Hargreaves contrasted this to more gruesome elements of the first half, such as encountering corpses of children and having to use those as part of the puzzle-solving aspects.


title: Limbo (video game)

text: Before its release, "Limbo" was awarded both the "Technical Excellence" and "Excellence in Visual Art" titles at the Independent Games Festival during the 2010 Game Developers Conference. At E3 2010—about a month before its release—"Limbo" won GameSpot's "Best Downloadable Game", and was nominated for several other "Best of Show" awards, including "Best Platformer" by IGN, "Most Original Game" by G4 TV, and "Best Puzzle Game" by GameSpot. The game was nominated as one of 32 finalists at the 2010 IndieCade festival for independent developers, ultimately winning the "Sound" award.


title: Limbo (video game)

text: Following its release, "Limbo" was named "Game of the Year", "Best Indie Game", and "Best Visual Art" at the 2010 European Milthon Awards during the Paris Game Show in September 2010. "Game Informer" named "Limbo" their Game of the Month for August 2010. "Limbo" was awarded the "Best Indie Game" at the 2010 Spike Video Game Awards. The game received the most nominations for the 11th Annual Game Developers Choice Awards, earning seven nominations including for the "Best Debut Game", "Innovation", and "Game of the Year" awards, and ultimately won for "Best Visual Art". The title won the "Adventure Game of the Year" and "Outstanding Achievement in Sound Design" Interactive Achievement Awards from the Academy of Interactive Arts & Sciences and was nominated for "Outstanding Achievement in Game Direction" and "Outstanding Innovation in Gaming". The Academy also named "Limbo" as the winner of the 2010 Indie Game Challenge award in the "Professional" category, along with a $100,000 prize. The game was selected as the 2010 Annie Award for Best Animated Video Game. "Limbo" was named as one of ten games for the publicly voted 2011 "Game of the Year" BAFTA Video Game Awards. In addition, the game was nominated for the committee-determined BAFTA awards for "Artistic Achievement", "Use of Audio", "Gameplay" and "Best Game". The inclusion of the independently developed "Limbo" among other larger commercially backed games such as "" and "" for such "Best Game" awards is considered an indication that the video game industry has started to give more recognition to these smaller titles.


title: Limbo (video game)

text: Several publications, including "Time", "Wired" and the "Toronto Sun" placed "Limbo" as one of the top ten video games of 2010. IGN named it the third best Xbox Live Arcade title of all time in two lists, published in 2010 and 2011, in both cases following "Shadow Complex" and "Pac Man Championship Edition". The site also included the scene where the boy reach a neon hotel sign as one of 100 Unforgettable Video Game Moments. "Limbo" was spoofed by the comedy troupe Mega64 during the 2011 Game Developers Conference, and later by the CollegeHumor sister website, Dorkly.


title: Limbo (video game)

text: Within two weeks of its release on Xbox Live Arcade, "Limbo" gained more than 244,000 players to the global leaderboards—a rough measure of full sales of the game—which was considered an "incredibly impressive feat" compared to previous Xbox Live Arcade titles, according to GamerBytes' Ryan Langley. Within a month of its release, more than 300,000 copies of the game were sold. By the end of August 2010, the number of players on the global leaderboard grew to 371,000, exceeding the number of players of other Summer of Arcade games released in 2009, and approaching the number of lifetime players of "Braid", released two years earlier. Langley, who had expected "Limbo" sales to fall "due to the lack of repeatable content and being a strictly single player experience", considered that these figures had "beaten everyone’s expectations". Phil Spencer, the Vice-President of Microsoft Game Studios, stated in September 2010 that "Limbo" was "our number one Summer of Arcade game by a long stretch", and further posed that "Limbo" represents a shift in the type of game that gamers want out of online on-demand game services; "it's becoming less about iconic [intellectual property] that people know and it's becoming more diverse". "Limbo" was the third-highest selling Xbox Live Arcade title in 2010, selling 527,000 and generating about $7.5 million in revenue. In March 2011, Microsoft listed "Limbo" as the 11th-highest selling game to date on Xbox Live. Playdead stated that more than two million users on the Xbox 360 service played through the demo within the year of the game's release.


title: Limbo (video game)

text: The developers announced that as of November 2011, they had sold over 1 million copies of the game across the Xbox 360, PlayStation 3, and Microsoft Windows platforms. By June 2013, just prior to the iOS release, Playdead announced that total sales of "Limbo" across all platforms exceeded 3 million. The PlayStation 3 version was the top selling third-party downloadable game on the PlayStation Network service in 2011. The PlayStation 3 version was also voted "Best Indie Game" in the 2012 PSN Gamers' Choice Awards. The Mac OS X version of "Limbo" was awarded with Apple's Design Award in 2012.


title: Limbo (video game)

text: Applications for grants from the Nordic Game Program, which had funded "Limbo" initial development, increased 50% in the second half of 2010, believed to be tied to the game's success. Playdead was able to buy itself back from its investors in August 2011 from the revenue made from sales of "Limbo". Playdead's follow-up title, "Inside", first released in June 2016, is visually and thematically similar to "Limbo", and includes some elements that were cut from "Limbo" development.


title: Christian Benteke

text: Christian Benteke Liolo (born 3 December 1990) is a Belgian professional footballer who plays as a striker for Major League Soccer club D.C. United and the Belgium national team.


title: Christian Benteke

text: Benteke began his career at Standard Liège, playing a part in their 2008–09 Belgian First Division triumph. Following a season at Genk he was signed for £7 million by Aston Villa. He scored 49 goals in 101 matches for Villa across all competitions, including 19 Premier League goals in his debut season and helping them to the 2015 FA Cup Final, before transferring to Liverpool in 2015 for £32.5 million. He spent a single season at Liverpool, scoring a total of ten goals, before being transferred to Crystal Palace at the start of the 2016–17 season.


title: Christian Benteke

text: Benteke has earned over forty caps for Belgium since making his debut in 2010. He missed the 2014 FIFA World Cup through injury, but was part of their team that reached the quarter-finals of UEFA Euro 2016, also featuring at Euro 2020.


title: Christian Benteke

text: Benteke was born in Kinshasa in 1990. He and his family fled during the Mobutu regime and in 1993 emigrated to Liège, Belgium.


title: Christian Benteke

text: Benteke played youth football for JS Pierreuse and later Standard Liège before moving to Genk. He rejoined Standard in January 2009 and scored three goals in 12 matches as the Walloon club won the 2008–09 Belgian championship. On 7 August 2009, he joined KV Kortrijk on loan for a season, where he scored 14 goals in the Belgian Pro League, including five goals in the championship play-offs, as the club achieved its best ever finish.


title: Christian Benteke

text: He spent the following season on loan at KV Mechelen as part of the transfer of Aloys Nong, who moved from Mechelen to Standard Liège. Benteke's spell at Mechelen was less successful, with seven goals from 25 appearances. He returned to Genk from Standard in August 2011 for an undisclosed fee, and went on to score 16 goals and register nine assists in 20 starts during the 2011–12 season.


title: Christian Benteke

text: After beginning the 2012–13 season with three goals from five league matches, Benteke was subject of an offer of €6m from Premier League club Aston Villa in August 2012.


title: Christian Benteke

text: On 31 August 2012, Benteke joined Premier League club Aston Villa on a four-year deal for a fee believed to be around £7 million.


title: Christian Benteke

text: On 15 September 2012, Benteke scored on his debut for Aston Villa in a 2–0 win against Swansea City, after coming on as a substitute for Austrian forward Andreas Weimann. The goal came when Swansea defender Ashley Williams headed the ball into Benteke's path, which he then lifted over the keeper and tapped in on the volley. Villa manager Paul Lambert praised Benteke's performance on his debut calling him "unplayable". He then scored Villa's only goal in a 1–1 home draw with Norwich City. He added a further two goals to his tally during a 3–2 victory over Swindon Town in the League Cup. He scored the winner in a 1–0 Premier League victory for Villa against Reading at Villa Park on 27 November to continue his impressive start in English football.


title: Christian Benteke

text: Benteke then scored Villa's fourth goal in a 4–1 League Cup win over Norwich City at Carrow Road. Benteke further added to his impressive start in Premier League football by scoring two goals in Villa's 3–1 win against Liverpool at Anfield on 15 December. In addition to the two goals, he also assisted Villa's second goal with a back-heel to Andreas Weimann. Paul Lambert said afterwards that 'Benteke has been unbelievable', after already stating midweek (post–Norwich) that 'you run out of things to say about the guy, how well he's performing and how young he is'. Around Christmas time, Tottenham Hotspur manager André Villas-Boas was reportedly interested in signing Benteke, referring to him as the season's "surprise package".


title: Christian Benteke

text: After not scoring for three games, Benteke scored Villa's first penalty kick in almost a year in a 2–2 draw away to Swansea City in Villa's first game of 2013. He recorded his 10th goal of the season with a 28-yard strike against West Midlands rivals West Bromwich Albion in a 2–2 draw at The Hawthorns. The goal was nominated for January's goal of the month competition on Match of the Day. He then netted Villa's first goal in their 2–1 League Cup semi-final victory over Bradford City. However, the victory was not enough as Bradford won 4–3 on aggregate to progress to the final. Former England striker Michael Owen called him one of the signings of the season and posted a tweet the day after the semi-final saying: 'I'm seriously impressed with Benteke. What a player.' Benteke continued his rich scoring form with a goal against Newcastle United and a brace against Everton, in a game that Villa had led 3–1 at one point but eventually finished 3–3. He racked up his 15th goal in all competitions, as well as tallying six goals in five games, when he scored a penalty in a 2–1 victory against West Ham United on 10 February 2013. This was Villa's first league victory in eight games, since Benteke inspired the win against Liverpool back in December.


title: Christian Benteke

text: Benteke scored a deflected goal in a 2–1 victory at Reading, scoring the club's 1,000th goal in the Premier League in the process. The following week he went on to score a goal that sealed a 3–2 win over Queens Park Rangers. He then scored the third goal to seal a 3–1 win against relegation rivals Stoke City at the Britannia Stadium. Benteke was nominated for the PFA Young Player of the Year after his excellent debut season, eventually finishing as runner-up to eventual double award winner Gareth Bale. On 29 April, Benteke scored his first hat-trick for Aston Villa in a 6–1 thrashing of Sunderland. These goals also saw him exceed Dwight Yorke's record for most Premier League goals in a season (18) by an Aston Villa player and pass the 20 goal mark in all competitions, becoming the first player to do so for Villa since Juan Pablo Ángel in the 2003–04 season.


title: Christian Benteke

text: On 11 May, Benteke scored Villa's only goal in a 2–1 loss to Chelsea but in the second half he was sent off after receiving his second yellow card for a high boot on John Terry, meaning he would miss the last game of the season.


title: Christian Benteke

text: Benteke's 23 goals in 2012–13 led to speculation about his future, and in early July he submitted a transfer request. Villa said he could leave only if their valuation were met, but a fortnight later he withdrew his transfer request, after talks with manager Paul Lambert, and signed a new four-year contract with the club. On his second pre-season appearance, he scored a hat-trick against Crewe Alexandra in a 5–1 victory. He finished pre-season with seven goals in five appearances, including two goals against Málaga at Villa Park.


title: Christian Benteke

text: On 17 August 2013, Benteke scored twice, once from a penalty and one headed goal via a rebound from a missed penalty, in Aston Villa's 3–1 away-win against Arsenal on the opening day of the 2013–14 Premier League season.


title: Christian Benteke

text: Four days later, Benteke scored against Chelsea at Stamford Bridge in a 2–1 defeat. He scored his fourth goal in as many games, as Villa comfortably beat League One side Rotherham United 3–0 in the League Cup second round. He continued scoring, as he racked up his fifth goal in all competitions, against Newcastle United in a 2–1 defeat at Villa Park. However his brilliant early season form was abruptly ended, as he was injured in the next match against Norwich City. It was later confirmed that he would be out for up to six weeks with a hip flexor injury. However, he made his comeback earlier than expected, after coming on as a substitute against Tottenham Hotspur a month later in a 2–0 defeat.


title: Christian Benteke

text: After loss of form and nagging injuries prevented Benteke scoring for 12 games (his last goal being against Newcastle on 14 September), he eventually ended his drought against Arsenal in a 1–2 defeat on 13 January 2014. He followed this up with goals in back-to-back games against Liverpool and West Bromwich Albion, in a 2–2 draw and 4–3 victory respectively. Having not scored throughout February, the Belgian then scored a superb overhead volley as well as a header, in an eventual 4–1 home victory against Norwich City on 2 March.


title: Christian Benteke

text: On 3 April 2014, Benteke suffered a rupture of his achilles tendon while training and was ruled out for at least six months, missing the remainder of the season and the 2014 FIFA World Cup.


title: Christian Benteke

text: On 2 November 2014, Benteke was given a straight red card by referee Neil Swarbrick for pushing the face of Tottenham Hotspur's Ryan Mason after Mason had stuck his face in Benteke's chest. Villa had been winning at the time, but went on to lose 2–1. The incident led to both clubs being fined £20,000 by The FA for failing to keep their players under control.


title: Christian Benteke

text: He scored his second goal of the season against Manchester United in a 1–1 draw at Villa Park. It took him until early March to score his next goal, a 94th-minute penalty in a local derby against rivals West Bromwich Albion. On 7 April, he scored his second Premier League hat-trick in a 3–3 draw with Queens Park Rangers. Twelve days later, he equalised as Villa came from behind to defeat Liverpool and reach the 2015 FA Cup Final, their first for fifteen years. On 2 May, he scored twice in a 3–2 win at home to Everton, taking him to a total of eleven goals in nine matches since the arrival of Tim Sherwood as manager. Six days later, Benteke was announced as the Premier League Player of the Month for April. He played the full 90 minutes in the FA Cup Final as Villa lost 4–0 to Arsenal, being beaten to a header by Per Mertesacker for the third goal of the rout.


title: Christian Benteke

text: On 22 July 2015, Liverpool completed the signing of Benteke on a "long-term contract" after meeting his release clause of £32.5 million, at the time making him their second most expensive transfer ever. He made his debut on 2 August in a pre-season friendly at Swindon Town, putting Liverpool into the lead with a volley as they went on to win 2–1.


title: Christian Benteke

text: On 9 August, Benteke made his competitive debut by starting in a 1–0 win at Stoke City. Eight days later he scored his first league goal for Liverpool in a 1–0 home win over newly promoted Bournemouth. On 12 September, he scored an overhead kick in a 3–1 defeat to rivals Manchester United.


title: Christian Benteke

text: After missing several games through injury, Benteke returned to score in consecutive games as a substitute on 25 and 31 October: a 1–1 draw against Southampton and a 3–1 away win against Chelsea. On 26 December, he replaced compatriot Divock Origi in the first half of a home fixture against league leaders Leicester City, and scored the only goal in a victory that curtailed the visitors' nine-game unbeaten run.


title: Christian Benteke

text: On 8 January 2016, Benteke was named as captain for Liverpool's FA Cup third round tie with Exeter City at St James Park.


title: Christian Benteke

text: On 11 May 2016, Benteke scored his tenth goal of his only season at Liverpool with a 92nd-minute equaliser in the team's final home game of 2015–16, a 1–1 draw with Chelsea. Benteke was often found on the bench because he wasn't fitting into Jürgen Klopp's style of play. Because of this, he ended his stint at Liverpool after making 42 appearances and scoring 10 goals.


title: Christian Benteke

text: On 20 August 2016, fellow Premier League side Crystal Palace completed the signing of Benteke on a four-year deal for a fee of £27m which could rise by a further £5m, bringing the total fee to £32m. On 10 September 2016, Benteke scored his first goal for Palace in a 2–1 victory against Middlesbrough, in his second league game. On 24 September 2016, Benteke headed home a goal against Sunderland in the 94th minute to cap Palace's comeback from 2–0 down to win 3–2. On 3 December 2016 (Benteke's birthday), he scored twice in a 3–0 win over Southampton that ended Palace's run of six consecutive defeats. Benteke marked his return to Anfield, the ground of his former club Liverpool, with two goals in a 2–1 win on 23 April 2017. He finished his first season with Palace as their top-scorer, with 15 league goals and 17 in total.


title: Christian Benteke

text: The next season was less successful, with Benteke not scoring until December, and finishing the season with just three league goals in 30 appearances. In an injury-affected 2018–19 season, Benteke scored once in 19 appearances in all competitions and had not scored by October of the 2019–20 campaign. Despite this loss of form, in that same month, he signed a contract extension keeping him at Crystal Palace until the end of the 2020–21 season.


title: Christian Benteke

text: On 16 May 2021, Benteke headed in a goal against his former club Aston Villa as Palace twice came from a goal-behind to win 3–2. It was Benteke's 31st headed goal in the Premier League, joining the top-10 all-time list, equal with Tim Cahill. With a goal against Arsenal in Palace's next match, Benteke scored in four consecutive Premier League games for the first time in over eight years.


title: Christian Benteke

text: Benteke was a member of the Belgium U17 team at the 2007 FIFA U-17 World Cup in South Korea where he played three games and scored once.


title: Christian Benteke

text: On 19 May 2010, he made his senior debut for the Belgium national team in a friendly match against Bulgaria in Brussels after his former coach at Kortrijk, Georges Leekens, became national coach. On 15 August 2012, he scored his first goal in a 4–2 win against the Netherlands. Since then, he has become a regular starter for Belgium under Marc Wilmots. On 29 May 2013, he scored twice in a 4–2 friendly victory against the United States in Cleveland, Ohio.


title: Christian Benteke

text: He scored two goals in seven appearances during qualifying for the 2014 FIFA World Cup, but was ruled out of the tournament finals with a ruptured Achilles tendon.


title: Christian Benteke

text: Benteke returned to Belgium's squad for the UEFA Euro 2016 qualifying campaign, scoring his first international goal for two years in a 5–0 defeat of Cyprus on 28 March 2015. He was selected for the final tournament in France, and made his tournament debut in the second group game on 18 June, replacing Romelu Lukaku for the last seven minutes of a 3–0 win over the Republic of Ireland in Bordeaux. He played three more minutes in place of the same player four days later in a victory over Sweden, but took no further part as the Belgians reached the quarter-finals and lost to Wales. On 10 October 2016, Benteke set a record for the fastest goal in a World Cup match—either qualifying or the finals—when he scored after 8.1 seconds against Gibraltar in a 2018 FIFA World Cup qualifying match, breaking the 23-year-old record previously held by Davide Gualtieri. He scored twice more to complete his first hat-trick for Belgium.


title: Christian Benteke

text: He was left out of the final Belgium 23-man squad for the 2018 FIFA World Cup despite initially being named in the preliminary squad.


title: Christian Benteke

text: Benteke's goal celebration, which features him beating his chest, is taken from LeBron James. The celebration appears in EA Sports’ video game "FIFA 18".


title: Felix Yusupov

text: Prince Felix Felixovich Yusupov, Count Sumarokov-Elston (; – 27 September 1967) was a Russian aristocrat from the Yusupov family who is best known for participating in the assassination of Grigori Rasputin and for marrying Princess Irina Alexandrovna, a niece of Tsar Nicholas II.


title: Felix Yusupov

text: He was born in the Moika Palace in Saint Petersburg, the capital of the Russian Empire. His father was Count Felix Felixovich Sumarokov-Elston, the son of Count Felix Nikolaievich Sumarokov-Elston. Zinaida Yusupova, his mother, was the last of the Yusupov line, of Tatar origin, and very wealthy. For the Yusupov name not to die out, his father (1856, Saint Petersburg – 1928, Rome, Italy) was granted the title and the surname of his wife, Princess Zinaida Yusupova, on 11 June 1885, a year after their marriage, but effective after the death of his father-in-law in 1891.


title: Felix Yusupov

text: The Yusupov family, one of the richest families in Imperial Russia, had acquired their wealth generations earlier. It included four palaces in Saint Petersburg, three palaces in Moscow, 37 estates in different parts of Russia, on the Crimea (at Koreiz, Kökköz and Balaklava), coal and iron-ore mines, plants and factories, flour mills and oil fields on the Caspian Sea. His father served between 1886 and 1904 as an adjutant to Grand Duke Sergei Alexandrovich was appointed General-Governor of Moscow (with the support of Grand Duke Nikolas Nikolaevich).


title: Felix Yusupov

text: Felix led a flamboyant life. As a young man, he cross-dressed, wearing ball gowns and his mother's jewelry to public events. From 1909 to 1913, he studied Forestry and later English at University College, Oxford, where he was a member of the Bullingdon Club, and established the Oxford Russian Club. Yusupov was living on 14 King Edward Street, had a Russian cook, a French driver, an English valet, and a housekeeper, and spent much of his time partying. He owned three horses, a macaw, and a bulldog called Punch. He smoked hashish, danced tango and became friendly with Luigi Franchetti, a piano player, and Jacques de Beistegui, who both moved in. At some time, Yusupov became acquainted with Albert Stopford and Oswald Rayner, a classmate. He rented an apartment in Curzon Street, Mayfair, and met several times with the ballerina Anna Pavlova, who lived in Hampstead.


title: Felix Yusupov

text: The engagement took place in the fall of 1913 in the Yusupov Palace in Koreiz. Back in Saint Petersburg, he married Princess Irina of Russia, the Tsar's only niece, in the Anichkov Palace on 22 February 1914. The bride was wearing a veil that had belonged to Marie Antoinette. The Yusupovs went on honeymoon to the Crimea, Italy, Egypt, Jerusalem, London, and Bad Kissingen in Germany, where his parents were staying. No one suspected that this was the last grand wedding in the Russian Empire.


title: Felix Yusupov

text: When World War I broke out in August 1914, both were briefly detained in Berlin. Irina asked her relative, Crown Princess Cecilie of Prussia, to intervene with Kaiser Wilhelm II. The Kaiser refused to permit the Yusupov family to leave but offered them a choice of three country estates to live in for the duration of the war. Felix's father appealed to the Spanish ambassador in Germany and won permission for them to return to Russia via neutral Denmark to the Grand Duchy of Finland and from there to Saint Petersburg. The Yusupovs' only daughter, Princess Irina Felixovna Yusupova, nicknamed Bébé, was born on 21 March 1915. Bébé was largely raised by her paternal grandparents until she was nine. She was very spoiled by them. Her unstable upbringing caused her to become "capricious," according to Felix. Felix and Irina, raised mainly by nannies themselves, were ill-suited to take on the day-to-day burdens of child-rearing. Bébé adored her father but had a more distant relationship with her mother.


title: Felix Yusupov

text: After the death of his brother, Felix was the heir to an immense fortune. Consulting with family members about how best to administer the money and property, he decided to devote time and money to charitable works to help the poor. The losses at the Eastern Front were enormous, and so Felix converted a wing/floor of the Liteyny House into a hospital for wounded soldiers.


title: Felix Yusupov

text: Felix was able to avoid entering military service himself by taking advantage of a law exempting only-sons from serving. Irina's first cousin, Grand Duchess Olga, to whom she had been close when they were children, was disdainful of Felix: "Felix is a 'downright civilian,' dressed all in brown, walked to and fro about the room, searching in some bookcases with magazines and virtually doing nothing; an utterly unpleasant impression he makes – a man idling in such times," Olga wrote to Nicholas on 5 March 1915 after paying a visit to the Yusupovs.


title: Felix Yusupov

text: "Yusupov's plan, as he described it in his book, was to seek closer acquaintance with the healer Grigori Rasputin, and win his confidence. He asked Rasputin to cure a slight malady from which he suffered." These sessions stopped early January 1915 when according to Maurice Paléologue the most absurd stories were spread about Alexandra Feodorovna, Rasputin was accused of selling out to Germany, and the tsarina was called nothing but "German" (in first place her birth nationality). The men did not meet for almost two years. In February 1916 Felix began studies at the elite Page Corps military academy and tried joining a regiment in August.


title: Felix Yusupov

text: The incessant retreat in Galicia and the rumours of heavy losses gave rise to a lot of swearing and gossip, according to A. Spiridovich.


title: Felix Yusupov

text: On June 19, 1915, after anti-German pogroms in Moscow, which he could not quickly stop, he was dismissed from the post of chief of the Moscow Military District, and on September 3, 1915 — from the post of commander-in-chief over Moscow.


title: Felix Yusupov

text: Early November 1916 Felix Yusupov approached the lawyer Vasily Maklakov, who agreed to advise Felix. It seems Yusopov then asked Sergei Mikhailovich Sukhotin, an army officer in the Preobrazhensky Regiment who was recovering from injuries and a friend of his mother. Grand Duke Dmitri received Yusupov's suggestion with alacrity, and his alliance was welcomed as indicating that the murder would not be a demonstration against the [Romanov] dynasty. On 20 November Felix visited Vladimir Purishkevich, who had delivered an angry anti-Rasputin speech in the Duma on the day before, and quickly agreed to participate in the murder.


title: Felix Yusupov

text: On the night of 29/30 December (NS) 1916, Felix, Dmitri, Vladimir Purishkevich, assistant Stanislas de Lazovert, and Sukhotin killed Rasputin in the Moika Palace under the pretense of a housewarming party. A major reconstruction of the palace had almost been finished, with a small room in the basement carefully furnished. Perhaps some women were invited but Yusupov did not mention their names; Radzinsky suggested Dimitri's step-sister Marianne Pistohlkors and film star Vera Karalli. Smith came up with Princess Olga Paley and Anna von Drenteln. Somewhere in the building were a major-domo and a valet, waiting for orders.


title: Felix Yusupov

text: According to both Yusupov and Purishkevich, a gramophone in the study played interminably the Yankee Doodle when Rasputin came in. Yusupov mentions in his unreliable memoirs, he then offered Rasputin tea and petit fours laced with a large amount of potassium cyanide. According to the diplomat, Maurice Paléologue—<wbr/>who in later years rewrote his diary—<wbr/>they discussed spirituality and occultism; the antique dealer Albert Stopford wrote that politics was the issue. After an hour or so, Rasputin was fairly drunk. Still waiting for Rasputin to collapse, Yusupov became anxious that Rasputin might live until the morning, leaving the conspirators no time to conceal his body. Yusupov went upstairs and came back with a revolver.