title: Auditory hallucination

text: The oracles of ancient Greece were known to experience auditory hallucinations while breathing in certain neurologically active vapors (such as the smoke from bay leaves), while the more pervasive delusions and symptomatology were often viewed as possession by demonic forces as punishment for misdeeds.


title: Auditory hallucination

text: Treatment in the ancient world is ill-documented, but there are some cases of therapeutics being used to attempt treatment, while the common treatment was sacrifice and prayer in an attempt to placate the gods. During the Middle Ages, those with auditory hallucinations were sometimes subjected to trepanning or trial as a witch. In other cases of extreme symptomatology, individuals were seen as being reduced to animals by a curse; these individuals were either left on the streets or imprisoned in insane asylums. It was the latter response that eventually led to modern psychiatric hospitals.


title: Auditory hallucination

text: Auditory hallucinations were rethought during the enlightenment. As a result, the predominant theory in the western world beginning in the late 18th century was that auditory hallucinations were the result of a disease in the brain (e.g., mania), and treated as such.


title: Auditory hallucination

text: There were no effective treatments for hallucinations at this time. Conventional thought was that clean food, water, and air would allow the body to heal itself (sanatorium). Beginning in the 16th century insane asylums were first introduced in order to remove "the mad dogs" from the streets. These asylums acted as prisons until the late 18th century. This is when doctors began the attempt to treat patients. Often attending doctors would douse patients in cold water, starve them, or spin patients on a wheel. Soon, this gave way to brain-specific treatments with the most famous examples including lobotomy, shock therapy, and branding the skull with a hot iron.


title: Auditory hallucination

text: Robert Schumann, a famous music composer, spent the end of his life experiencing auditory hallucinations. Schumann's diaries state that he suffered perpetually from imagining that he had the note A5 sounding in his ears. The musical hallucinations became increasingly complex. One night he claimed to have been visited by the ghost of Schubert and wrote down the music that he was hearing. Thereafter, he began making claims that he could hear an angelic choir singing to him. As his condition worsened, the angelic voices developed into demonic ones.


title: Auditory hallucination

text: Brian Wilson, songwriter and co-founder of the Beach Boys, has schizoaffective disorder that presents itself in the form of disembodied voices. They formed a major component of Bill Pohlad's "Love & Mercy" (2014), a biographical film which depicts Wilson's hallucinations as a source of musical inspiration, constructing songs that were partly designed to converse with them. Wilson has said of the voices: "Mostly [they're] derogatory. Some of it's cheerful. Most of it isn't." To combat them, his psychiatrist advised that he "talk humorously to them", which he says has helped "a little bit".


title: Auditory hallucination

text: The onset of delusional thinking is most often described as being gradual and insidious. Patients have described an interest in psychic phenomena progressing to increasingly unusual preoccupations and then to bizarre beliefs "in which I believed wholeheartedly". One author wrote of their hallucinations: "they deceive, derange and force me into a world of crippling paranoia". In many cases, the delusional beliefs could be seen as fairly rational explanations for abnormal experiences: "I increasingly heard voices (which I'd always call 'loud thoughts')... I concluded that other people were putting these loud thoughts into my head". Some cases have been described as an "auditory ransom note".


title: Auditory hallucination

text: According to research on hallucinations, both with participants from the general population and people diagnosed with schizophrenia, psychosis and related mental illnesses, there is a relationship between culture and hallucinations. In relation to hallucinations, the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) states that "transient hallucinatory experiences may occur without a mental disorder"; put differently, short or temporary hallucinations are not exclusive to being diagnosed with a mental disorder.


title: Auditory hallucination

text: In a study of 1,080 people with a schizophrenia diagnosis from seven countries of origin: Austria, Poland, Lithuania, Georgia, Pakistan, Nigeria and Ghana, researchers found that 74.8% of the total participants ("n" = 1,080) disclosed having experienced more auditory hallucinations in the last year than any other hallucinations from the date of the interview. Further, the study found the highest rates of both auditory hallucinations and visual hallucinations in both of the West African countries, Ghana and Nigeria. In the Ghana sample, "n" = 76, auditory hallucinations were reported by 90.8% and visual hallucinations were reported by 53.9% of participants. In the Nigeria sample, "n" = 324, auditory hallucinations were reported by 85.4%, and visual hallucinations were reported by 50.8% of participants. These findings are in line with other studies that have found that visual hallucinations were reported more in traditional cultures.


title: Auditory hallucination

text: A 2015 published study, "Hearing Voices in Different Cultures: A Social Kindling Hypothesis" compared the experiences of three groups of 20 participants who met the criteria for schizophrenia ("n" = 60) from three places, including San Mateo, California (USA), Accra, Ghana (Africa), and Chennai, India (South Asia). In this study, researchers found distinct differences among the participant's experience with voices. In the San Mateo, CA sample all but three of the participants referred to their experience of hearing voices with "diagnostic labels, and even [used] diagnostic criteria readily", they also connected "hearing voices" with being "crazy". For the Accra, Ghana sample, almost no participants referenced a diagnosis and instead they spoke about voices as having "a spiritual meaning and as well as a psychiatric one". In the Chennai, India sample, similarly to the Ghana interviewees, most of the participants did not reference a diagnosis and for many of these participants, the voices they heard were of people they knew and people they were related to, "voices of kin". Another key finding that was identified in this research study is that "voice-hearing experience outside the West may be less harsh". Finally, researchers found that "different cultural expectations about the mind, or about the way people expect thoughts and feelings to be private or accessible to spirits or persons" could be attributed to the differences they found across the participants.


title: Auditory hallucination

text: In a qualitative study of 57 self-identified Māori participants subcategorized within one or more of the following groups including: "tangata Māori (people seeking wellness/service users), Kaumatua/Kuia (elders), Kai mahi (cultural support workers), Managers of mental health services, clinicians (psychiatrists, nurses, and psychologists) and students (undergraduate and postgraduate psychology students)", researchers interviewed participants and asked them about "[1] their understanding of experiences that could be considered to be psychotic or labelled schizophrenic, [2] what questions they would ask someone who came seeking help and [3] they we asked about their understanding of the terms schizophrenia and psychosis". The participants were also people who either had worked with psychosis or schizophrenia or had experienced psychosis or schizophrenia. In this study, researchers found that the participants understood these experiences labelled "psychotic" or "schizophrenic" through multiple models. Taken directly from the article, the researchers wrote that there is "no "one" Māori way of understanding psychotic experiences". Instead, as part of understanding these experiences, the participants combined both "biological explanations and Māori spiritual beliefs", with a preference for cultural and psychosocial explanations. For example, 19 participants spoke about psychotic experiences as sometimes being a sign of matakite (giftedness). One of the Kaumatua/Kuia (elders) was quoted as saying:An important finding highlighted in this study is that studies done by the World Health Organization (WHO) have found that "developing countries (non-Western) experience far higher rates of recovery from 'schizophrenia' than Western countries". The researchers further articulate that these findings may be due to culturally specific meaning created about the experience of schizophrenia, psychosis, and hearing voices as well as "positive expectations around recovery".


title: Auditory hallucination

text: Research has found that auditory hallucinations and hallucinations more broadly are not necessarily a symptom of "severe mental health" and instead might be more commonplace than assumed and also experienced by people in the general population. According to a literature review, "The prevalence of voice-hearers in the general population: A literature review", which compared 17 studies on auditory hallucinations in participants from nine countries, found that "differences in the prevalence of [voice-hearing in the adult general population] can be attributed to true variations based on gender, ethnicity and environmental context". The studies took place from 1894 to 2007 and the nine countries in which the studies took place were the United Kingdom, Philippines, United States, Sweden, France, Germany, Italy, Netherlands, and New Zealand. The same literature review highlighted that "studies that [analyzed] their data by gender report[ed] a higher frequency of women reporting hallucinatory experiences of some kind". Although generally speaking hallucinations (including auditory) are strongly related to psychotic diagnoses and schizophrenia, the presence of hallucinations does not exclusively mean that someone has a psychotic or schizophrenic episode or diagnosis.


title: Auditory hallucination

text: Audible thoughts, also called thought sonorisation, is a kind of auditory verbal hallucination. People with this hallucination constantly hear a voice narrating one's own thoughts out loud. This idea was first defined by Kurt Schneider, who included this symptom as one of the "first-rank symptoms" in diagnosing schizophrenia. Although the diagnostic reliability of "first-rank symptoms" has long been questioned, this idea remains important for its historical and descriptive value in psychiatry. Audible thoughts is a positive symptom of schizophrenia according to DSM-5, however, this hallucination is not exclusively found among people with schizophrenia, but also among patients of bipolar disorder in their manic phase.


title: Auditory hallucination

text: Patients who experience audible thoughts will hear the voice repeating their own thoughts either as or after the thought comes into their minds. The first kind of audible thought, the voice and the thought appear simultaneously, was named by German psychiatry August Cramer as Gedankenlautwerden, a German word stands for "thoughts become aloud".


title: Auditory hallucination

text: "A 35-year-old painter heard a quiet voice with an 'Oxford accent'. The volume was slightly lower than that of normal conversation and could be heard equally well with either ear. The voice would say, 'I can't stand that man, the way he holds his brush he looks like a poof.' He immediately experienced whatever the voice was saying as his own thoughts, to the exclusion of all other thoughts."


title: Auditory hallucination

text: And the second kind in which the voice comes after the thought appears is called echo de la pensée in French, namely thought echo.


title: Auditory hallucination

text: "A 32-year-old housewife complained of a man's voice. The voice would repeat almost all the patient's goal-directed thinking, even banalest thoughts. The patient would think 'I must put the kettle on', and after a pause of not more than one second the voice would say 'I must put the kettle on'."


title: Auditory hallucination

text: If categorized by patients' subjective feelings about where the voices come from, audible thoughts can be either external or internal. Patients reporting an internal origin of the hallucination claim that the voices are coming from somewhere inside their body, mainly in their own heads, while those reporting an external origin feel the voice as coming from the environment. The external origins vary in the patients' description: some hear the voice in front of their ears, some attribute the ambient surrounding noise, like running water or wind, as the source. This sometimes influences patients' behaviours as they believe people around them can also hear these audible thoughts, therefore they may avoid social events and public places to prevent others from hearing their thoughts. Besides, study suggests that the locus of the voice may change as the patients' hallucinations develop. There's a trend of internalization of external perceptions, which means patients will locate the source of their hallucination from external objects to internal subjectivity over time.


title: Auditory hallucination

text: According to the study conducted by Tony Nayani and Anthony David in 1996, about half of the patients(46%) with audible thoughts claimed that the hallucination has somehow taken the place of their conscience in making decisions and judgement. They tend to follow the voice's instructions when confronting dilemmas in their daily lives. The study also suggests that a majority of the patients, both male and female, labeled the sounds they heard as male voices. However, younger patients tend to hear younger voices, which suggests that the voices in the hallucination may share age with the patients but not gender. What's more, voices in the hallucination usually differ from the patients' own voices in accents. They reported the voices they heard as coming from different regions or social classes with them.


title: Auditory hallucination

text: Some patients may develop skills to control their hallucinations to a certain extent through some kind of cognitive focusing. They can't eliminate the voices, but through cognitive focusing or suggestive behaviours (e.g. swallowing), they can control the onset and offset of their hallucination.


title: Auditory hallucination

text: Studies have suggested that damage to specific brain areas may relate to the formation of audible thought. Patients who attribute the hallucination to an external locus are more likely to report the voice coming from the right. This unilateral characteristic can be explained by either contralateral temporal lobe disease or ipsilateral ear disease. Researchers also came up with hypotheses that audible thought may result from damage in the right hemisphere, which causes the malfunction of prosodic construction. If this happens, the left hemisphere may misinterpret the patients' own thoughts as alien, leading the patients to misconceive their thoughts as coming from another voice.


title: Auditory hallucination

text: A good amount of the research done has focused primarily on patients with schizophrenia, and beyond that drug-resistant auditory hallucinations.


title: Auditory hallucination

text: There is now substantial evidence that auditory verbal hallucinations (AVHs) in psychotic patients are manifestations of disorganized speech capacity at least as much as, and even more than, being genuinely auditory phenomena. Such evidence comes mainly from research carried out on the neuroimaging of AVHs, on the so-called "inner" and "subvocal" speech, on "voices" experienced by deaf patients, and on the phenomenology of AVHs. Interestingly, this evidence is in line with clinical insights of the classical psychiatric school (de Clérambault) as well as of (Lacanian) psychoanalysis. According to the latter, the experience of the voice is linked more to speech as a chain of articulated signifying elements than to sensorium itself.


title: Auditory hallucination

text: There is on-going research that supports the prevalence of auditory hallucinations, with a lack of other conventional psychotic symptoms (such as delusions, or paranoia), particularly in pre-pubertal children. These studies indicate a remarkably high percentage of children (up to 14% of the population sampled) experienced sounds or voices without any external cause, although "sounds" are not considered by psychiatrists to be examples of auditory hallucinations. Differentiating actual auditory hallucinations from "sounds" or a normal internal dialogue is important since the latter phenomena are not indicative of mental illness.


title: Auditory hallucination

text: To explore the auditory hallucinations in schizophrenia, experimental neurocognitive use approaches such as dichotic listening, structural fMRI, and functional fMRI. Together, they allow insight into how the brain reacts to auditory stimuli, be they external or internal. Such methods allowed researchers to find a correlation between a decreased gray matter of the left temporal lobe and difficulties in processing external sound stimuli in hallucinating patients.


title: Auditory hallucination

text: Functional neuroimaging has shown increased blood and oxygen flow to speech-related areas of the left temporal lobe, including Broca's area and the thalamus.


title: Auditory hallucination

text: It is suspected that deficits in the left temporal lobe attribute that lead to spontaneous neural activity cause speech misrepresentations that account for auditory hallucinations.


title: Auditory hallucination

text: Charles Fernyhough, of the University of Durham, poses one theory among many but stands as a reasonable example of the literature. Given standing evidence towards the involvement of the inner voice in auditory hallucinations, he proposes two alternative hypotheses on the origins of auditory hallucinations in the non-psychotic. They both rely on an understanding of the internalization process of the inner voice.


title: Auditory hallucination

text: The internalization process of the inner voice is the process of creating an inner voice during early childhood and can be separated into four distinct levels.


title: Auditory hallucination

text: Level one (external dialogue) involves the capacity to maintain an external dialogue with another person, i.e. a toddler talking with their parent(s).


title: Auditory hallucination

text: Level two (private speech) involves the capacity to maintain a private external dialogue, as seen in children voicing the actions of play using dolls or other toys, or someone talking to themselves while repeating something they had written down.


title: Auditory hallucination

text: Level three (expanded inner speech) is the first internal level in speech. This involves the capacity to carry out internal monologues, as seen in reading to oneself or going over a list silently.


title: Auditory hallucination

text: Level four (condensed inner speech) is the final level in the internalization process. It involves the capacity to think in terms of pure meaning without the need to put thoughts into words in order to grasp the meaning of the thought.


title: Auditory hallucination

text: A disruption could occur during the normal process of internalizing one's inner voice, where the individual would not interpret their own voice as belonging to them; a problem that would be interpreted as a level one to level four error.


title: Auditory hallucination

text: Alternatively, the disruption could occur during the process of re-externalizing one's inner voice, resulting in an apparent second voice that seems alien to the individual; a problem that would be interpreted as a level four to level one error.


title: Auditory hallucination

text: Psychopharmacological treatments include antipsychotic medications. Meta-analyses show that cognitive behavioral therapy and metacognitive training also reduce the severity of hallucinations. Psychology research shows that the first step in treatment is for the patient to realize that the voices they hear are a creation of their own mind. This realization allows patients to reclaim a measure of control over their lives.


title: Brad William Henke

text: Brad William Henke (April 10, 1966 – November 29, 2022) was an American actor and National Football League and Arena Football League player. He was best known for his role as Corrections Officer Desi Piscatella on "Orange Is the New Black", for which he won the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series in 2016.


title: Brad William Henke

text: Henke was born in Columbus, Nebraska. He attended the University of Arizona and played football as a defensive lineman.


title: Brad William Henke

text: Henke was drafted by the New York Giants in the 1989 NFL Draft but got cut during training camp. He was picked up by the Denver Broncos, and he played in Super Bowl XXIV against the San Francisco 49ers. Repeated injuries, which required six ankle surgeries, led to his retirement from professional football in 1994.


title: Brad William Henke

text: Henke began acting in 1994, starting with commercials. He appeared in "October Road", "Around June", "The Amateurs", "World Trade Center", "In the Valley of Elah", "Choke", "Sherrybaby", "Must Love Dogs" and "Fury".


title: Brad William Henke

text: His television career includes roles in "Arliss", "ER", "Dexter", "Lost", "Justified", "The Office", "Orange Is the New Black," "Sneaky Pete", and "MacGyver" (2016)".


title: Brad William Henke

text: Henke's breakout role has been on "Orange Is the New Black" as Desi Piscatella, a gay corrections officer at Litchfield Federal Penitentiary. He joined "OITNB" in the fourth season. He was part of the cast that won the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series for 2016.


title: Brad William Henke

text: In an Instagram post dated May 15, 2021, Henke stated that he had a 90% blockage of his artery. In another post dated June 29, 2021, he stated that he had two stents put in his heart, as well as his spleen and half of his pancreas removed, to treat a "golf ball sized" tumor.


title: Beanie Sigel

text: Dwight Equan Grant (born March 6, 1974), better known by his stage name Beanie Sigel, is an American rapper from South Philadelphia, Pennsylvania. He first became known for his association with Jay-Z and Roc-A-Fella Records, releasing his debut studio album "The Truth" through Roc-A-Fella in February 2000 to critical and commercial success.


title: Beanie Sigel

text: Sigel's second studio album, "The Reason", saw similar commercial success, but received mixed reviews from critics. His third album, "The B. Coming", was critically acclaimed and peaked at number 3 on the Billboard 200. After a short break from music, Sigel returned to Roc-A-Fella in 2007 and released his fourth studio album "The Solution" in December 2007 to positive reviews. After leaving Roc-A-Fella once again, Sigel's fifth and sixth studio albums, "The Broad Street Bully" and "This Time" were released independently in 2009 and 2012, respectively.


title: Beanie Sigel

text: Sigel is also known for his numerous legal issues, including a trial for attempted murder that took place between 2004 and 2005, and eventually lead to Sigel's acquittal.


title: Beanie Sigel

text: Roc-A-Fella Records released Beanie Sigel's debut album, "The Truth" on February 29, 2000, to critical and commercial success.


title: Beanie Sigel

text: In 2002, Sigel and much of the Roc-A-Fella roster starred in "State Property". Its release coincided with the creation and promotion of State Property, a group of Philadelphia artists signed to Roc-A-Fella, who were organized by Sigel and Freeway. Its members included Peedi Crakk, the Young Gunz (Neef Buck & Young Chris), Oschino and Omillio Sparks. Their first collaboration was for the movie's soundtrack, an eponymous release that featured the original "Roc the Mic" by Sigel and Freeway. 2003's "The Chain Gang Vol. 2" followed, featuring the single "Can't Stop, Won't Stop" by the Young Gunz. The record was nominated for a Grammy Award for Best Rap Performance by a Duo or Group.


title: Beanie Sigel

text: In 2005, before serving a one-year prison sentence stemming from an earlier arrest, Sigel shot multiple videos, directed by Joe Briscella, and finished his third album "The B. Coming". During this time, Sigel's label head at Roc-A-Fella, Jay-Z, became president of its parent label, Def Jam, which caused former business partners Damon Dash and Kareem "Biggs" Burke to leave and form the Dame Dash Music Group. Dame Dash Music Group and Def Jam released Sigel's "The B. Coming" rather than Roc-A-Fella, but it still contained production from a slew of Roc/Jay Z-affiliated producers including Chad West, The Neptunes, Just Blaze, Boola, and Buckwild. Sigel recruited cross–label MC talent for his album as well, including Cam'ron and Jay-Z. Sigel's record produced a hit track, "Feel It in the Air", and sold 131,000 copies in its first week.


title: Beanie Sigel

text: Advertising his friendship with the incarcerated Sigel, Dash publicly claimed that he was leaving the Roc-A-Fella roster to join him. Sigel's group, State Property was thrown into turmoil, but eventually chose to remain at Roc-A-Fella—apparently against Sigel's wishes. On his release, Sigel questioned the loyalty of his group and said that he was signing with Dame and Biggs due to a stronger relationship with the pair than with Jay-Z:


title: Beanie Sigel

text: I've never been around Jay on an off day. It ain't like I made a choice of running with Dame and Biggs or 'Dame and Biggs held me down through my whole trial.' It's not that. I would be a sucker if I said I [signed with the Damon Dash Music Group] because they did that for me. It's love. You see how we chillin' now, this ain't about no business.


title: Beanie Sigel

text: Soon after, he clarified his comments, saying he simply did not want to be involved in the conflict, and elected to re-open talks with Roc-A-Fella instead of moving to Dame Dash Music Group.


title: Beanie Sigel

text: In 2006, Sigel re-signed with Roc-A-Fella Records and started recording for his fourth studio album "The Solution". On October 29, 2007, Sigel released the first single from "The Solution" titled "All The Above" which featured R. Kelly. It debuted on the U.S. R&B charts at number 83. On May 22, 2007, Sigel released "The Solution" which debuted on the Billboard charts at number 37.


title: Beanie Sigel

text: In 2009, Sigel released his first independent album "The Broad Street Bully" after his contracts with Roc-A-Fella Records and Def Jam Records had expired.


title: Beanie Sigel

text: Sigel announced in 2010 he was working on his sixth studio album titled "The Closure" which was to be released on Universal Republic and G-Unit Records. However, on May 31, 2011, Sigel cancelled the album and retired from the music industry for two weeks before deciding to return and work on the album again, re-titling it "The Classic". In 2011 Sigel signed with 50 Cent's subsidiary label G-Unit Philly and renewed his 2009 contract with G-Unit Records. On July 13, 2011, Sigel released his first single from the album titled "B-Boy Stance".


title: Beanie Sigel

text: On March 30, 2012, Sigel told Statik Selektah on Shade 45 that he would be working on a collaborative album with his longtime close friend, the Southern rap veteran Scarface; the album was to be entitled "Mac and Brad". Scarface tweeted the announcement at the same time via mobile. On that same day, while distribution deals with E1, The Orchard, and Asylum were on the table, Sigel also decided to sign a distribution deal with EMI after one of his mutual friends garnered the interest of Chris Schwartz. Under Schwartz's guidance, Sigel released a new mixtape, followed by his studio album "This Time".


title: Beanie Sigel

text: Sigel first appeared in the documentary "Backstage," but his first main role was in the movie "State Property" which spawned a sequel "State Property 2". He also appeared along with Kevin Hart in the 2002 film "Paper Soldiers". Sigel released a DVD shortly after his third solo release "The B. Coming" titled "The B. Coming of Beanie Sigel" in 2005.


title: Beanie Sigel

text: In 2006, Sigel was interviewed in the "Rap Sheet: Hip-Hop and the Cops" documentary, which exposed to rappers to the dossiers maintained by NYPD as part of their effort to surveil hip-hop artists and executives.


title: Beanie Sigel

text: Sigel appeared in the 2011 film "Rhyme and Punishment" a documentary about hip hop artists who have served time in county jail or state/federal prison. The film features an interview with Sigel in which he discusses his conviction and life while incarcerated.


title: Beanie Sigel

text: Sigel recorded a song dissing his former boss and mentor Jay-Z on the track "I Go Off" with 50 Cent who had signed him to his G-Unit Records label in 2009. On May 31, 2011, it was reported that Sigel had apologized to Jay-Z. However, in an interview with DJ Green Lantern, he said that he had never "apologized" to Jay-Z, and that he was still making music.


title: Beanie Sigel

text: In 2015, Sigel and Jay-Z reunited at the Tidal B-Sides Concert and performed together, ending the feud.


title: Beanie Sigel

text: During the beginning of the new millennium, Sigel and various other Roc artists engaged in a conflict with artists from the Ruff Ryders. Sigel publicly decried Jadakiss, the rest of The LOX and DMX. Although Sigel and Jadakiss both denied any violent intent, they continued to exchange criticism until Sigel put out a freestyle rap over Jadakiss' hit "Put Ya Hands Up".


title: Beanie Sigel

text: On September 26, 2016, Sigel and Meek Mill, a former friend and neighbor, got into an altercation when Sigel ridiculed Mill's intelligence as well as claiming to be "the ruler of all of Philly" during a radio interview. Minutes after the interview, someone who was believed to have been one of Meek Mill's affiliates, punched Sigel on the back of his head. Three days later, Mill criticized Sigel via Instagram. He also dissed Sigel again in a freestyle on Funkmaster Flex's radio show. Sigel responded by releasing his own diss track titled "I'm Coming".


title: Beanie Sigel

text: In 2002, Sigel was arrested and charged with a federal weapons charge in West Philadelphia. He would later serve a year in federal prison.


title: Beanie Sigel

text: Sigel was arrested in January 2003 after allegedly punching a 53-year-old man in the face, fracturing his eye socket. On July 3, 2003, Sigel turned himself in to Philadelphia police and was charged with attempted murder after allegedly firing six shots from a 9 mm handgun at a club door, injuring two people. He was also charged with aggravated assault, simple assault and possession of a criminal instrument. His first trial ended in a hung jury. A second trial resulted in a not-guilty verdict.


title: Beanie Sigel

text: In 2004, Sigel was convicted of federal weapons charges and sentenced to one year and one day in federal prison.


title: Beanie Sigel

text: Sigel was shot multiple times during a robbery in Philadelphia on May 25, 2006. He was able to flee the scene and drive himself to a local hospital. This was one month after being released from prison after serving a brief stint for child support charges.


title: Beanie Sigel

text: On August 15, 2009, Sigel was arrested on a drug possession charge while traveling to a concert in New Jersey. He was found in possession of nearly of marijuana in his vehicle.


title: Beanie Sigel

text: Sigel was charged in 2010 with three counts of failing to file tax returns on income of over $1 million between 2003 and 2005. He pled guilty to the charges and was sentenced to 25 months in prison.


title: Beanie Sigel

text: On August 29, 2012, two weeks before reporting to prison, Sigel was arrested again in Philadelphia on drug, weapons, and conspiracy charges after being pulled over by police. Officers found a fully loaded .38-caliber Smith & Wesson handgun inside the vehicle, as well as $4,500 in cash, an unlabeled bottle of codeine cough syrup, and various pills. Sigel began his 24-month sentence for failing to file tax returns at the Federal Detention Center, Philadelphia on September 12, 2012. Additionally, he was sentenced six to 23 months in county jail for illegal possession of prescription drugs, to be served concurrently with his federal sentence.


title: Beanie Sigel

text: On August 14, 2014, Sigel was released from Federal Correctional Institution, Schuylkill and was reported to be serving out the rest of his sentence in a halfway house in Philadelphia. Sigel was wounded in a drive-by shooting outside his Pleasantville, New Jersey home on December 5, 2014. He was rushed to the hospital where he had a lung removed due to complications during surgery. According to police, Sigel was not the intended victim.


title: Caning of Charles Sumner

text: The Caning of Charles Sumner, or the Brooks–Sumner Affair, occurred on May 22, 1856, in the United States Senate chamber, when Representative Preston Brooks, a pro-slavery Democrat from South Carolina, used a walking cane to attack Senator Charles Sumner, an abolitionist Republican from Massachusetts. The attack was in retaliation for a speech given by Sumner two days earlier in which he fiercely criticized slaveholders, including South Carolina Senator Andrew Butler, a relative of Brooks. The beating nearly killed Sumner and contributed significantly to the country's polarization over the issue of slavery. It has been considered symbolic of the "breakdown of reasoned discourse" and the use of violence that eventually led to the Civil War.


title: Caning of Charles Sumner

text: Although Sumner was unable to return to the Senate until December of 1859, the Massachusetts legislature refused to replace him, leaving his empty desk in the Senate as a public reminder of the attack.


title: Caning of Charles Sumner

text: In 1856, during the "Bleeding Kansas" crisis, Sumner denounced the Kansas–Nebraska Act in his "Crime against Kansas" speech, delivered on May 19 and May 20. The long speech argued for the immediate admission of Kansas as a free state and went on to denounce the "Slave Power"—the political arm of the slave owners:


title: Caning of Charles Sumner

text: Sumner then attacked the authors of the Act, Senators Stephen A. Douglas of Illinois and Andrew Butler of South Carolina. Regarding Butler in particular, Sumner said:


title: Caning of Charles Sumner

text: Sumner was alluding that Butler was Don Quixote and slavery was his Dulcinea. Some commentators think that Sumner mocked Butler's speaking ability, which had been impeded by a recent stroke, when he decried Butler's "blunders":


title: Caning of Charles Sumner

text: According to Manisha Sinha, Sumner had been ridiculed and insulted by both Douglas and Butler for his opposition to the Fugitive Slave Law and the Kansas-Nebraska Act, with Butler crudely race-baiting Sumner by making sexual allusions to black women, like many slaveholders who accused abolitionists of promoting interracial marriage.


title: Caning of Charles Sumner

text: Sexually charged accusations were also part of the abolitionist lexicon. Williamjames Hoffer states that "It is also important to note the sexual imagery that recurred throughout [Sumner's] oration, which was neither accidental nor without precedent. Abolitionists routinely accused slaveholders of maintaining slavery so that they could engage in forcible sexual relations with their slaves." Douglas said during the speech that "this damn fool is going to get himself killed by some other damn fool".


title: Caning of Charles Sumner

text: Representative Preston Brooks, Butler's first cousin once removed, was infuriated. He later said that he intended to challenge Sumner to a duel, and consulted with fellow South Carolina Representative Laurence M. Keitt on dueling etiquette. Keitt told him that dueling was for gentlemen of equal social standing, and that Sumner was no better than a drunkard, due to the supposedly coarse language he had used during his speech. Brooks said that he concluded that since Sumner was no gentleman, he did not merit honorable treatment; to Keitt and Brooks, it was more appropriate to humiliate Sumner by beating him with a cane in a public setting.


title: Caning of Charles Sumner

text: Two days later, on the afternoon of May 22, 1856, Brooks entered the Senate chamber with Keitt and another ally, Representative Henry A. Edmundson of Virginia. They waited for the galleries to clear, being particularly concerned that there be no ladies present to witness what Brooks intended to do. He confronted Sumner as he sat writing at his desk in the almost empty Senate chamber. "Mr. Sumner, I have read your speech twice over carefully. It is a libel on South Carolina, and Mr. Butler, who is a relative of mine", Brooks calmly announced in a low voice. As Sumner began to stand up, Brooks beat Sumner severely on the head before he could reach his feet, using a thick gutta-percha cane with a gold head. The force of the blows so shocked Sumner that he lost his sight immediately. "I no longer saw my assailant, nor any other person or object in the room. What I did afterwards was done almost unconsciously, acting under the instincts of self-defense", he recalled later.


title: Caning of Charles Sumner

text: Sumner was knocked down and trapped under the heavy desk that was bolted to the floor. His chair, which was pulled up to his desk, moved back and forth on a track; Sumner either could not or did not think to slide his chair back to escape, so it pinned him under his desk. Brooks continued to strike Sumner until Sumner rose to his feet and ripped the desk from the floor in an effort to get away from Brooks. By this time, Sumner was blinded by his own blood. He staggered up the aisle and, arms outstretched, vainly attempted to defend himself. But then he was an even larger and easier target for Brooks, who continued to beat him across the head, face, and shoulders "to the full extent of [my] power". Brooks did not stop when his cane snapped; he continued thrashing Sumner with the piece that held the gold head. Sumner stumbled and reeled convulsively, "Oh Lord," he gasped, "Oh! Oh!" Near the end of the attack, Sumner collapsed unconscious, although shortly before he succumbed, he "bellowed like a calf" according to Brooks. Brooks grabbed the falling Sumner, held him up by the lapel with one hand, and continued to lash out at him with the cane in the other. Several other Senators and Representatives attempted to help Sumner, but were blocked by Edmundson, who yelled at the spectators to leave Brooks and Sumner alone, and Keitt, who brandished his own cane and a pistol, and shouted, "Let them be!" and "Let them alone, God damn you, let them alone!"


title: Caning of Charles Sumner

text: Senator John J. Crittenden attempted to intervene, and pleaded with Brooks not to kill Sumner. Senator Robert Toombs then interceded for Crittenden, telling Keitt not to attack someone who was not a party to the dispute, though Toombs also indicated later that he had no issue with Brooks beating Sumner, and in fact approved of it.


title: Caning of Charles Sumner

text: Representatives Ambrose S. Murray and Edwin B. Morgan were finally able to intervene and restrain Brooks, at which point he quietly left the chamber. Murray obtained the aid of a Senate page and the Sergeant at Arms, Dunning R. McNair. As Sumner regained consciousness they were able to assist him to walk to a cloakroom. Sumner received first aid and medical attention, including several stitches. With the aid of Nathaniel P. Banks, the Speaker of the House, and Senator Henry Wilson, Sumner was able to travel by carriage to his lodgings, where he received further medical treatment. Brooks also required medical attention before leaving the Capitol; he had hit himself above his right eye with one of his backswings.


title: Caning of Charles Sumner

text: The cane Brooks used was broken into several pieces, which he left on the blood-soaked floor of the Senate chamber. Some, including the cane's gold head, were recovered by Edmundson, who gave the portion with the head to Adam John Glossbrenner, the House Sergeant at Arms. This portion of the cane eventually ended up at the Old State House Museum in Boston; it was worked to smooth the edges and finish, and then put on display. Southern lawmakers made rings out of the other pieces Edmundson recovered from the Senate floor, which they wore on neck chains to show their solidarity with Brooks, who boasted "[The pieces of my cane] are begged for as sacred relics."


title: Caning of Charles Sumner

text: The episode revealed the polarization in America, which had now reached the floor of the Senate. Sumner became a martyr in the North and Brooks a hero in the South. Northerners were outraged. The "Cincinnati Gazette" said, "The South cannot tolerate free speech anywhere, and would stifle it in Washington with the bludgeon and the bowie-knife, as they are now trying to stifle it in Kansas by massacre, rapine, and murder." William Cullen Bryant of the "New York Evening Post," asked, "Has it come to this, that we must speak with bated breath in the presence of our Southern masters? ... Are we to be chastised as they chastise their slaves? Are we too, slaves, slaves for life, a target for their brutal blows, when we do not comport ourselves to please them?" Thousands attended rallies in support of Sumner in Boston, Albany, Cleveland, Detroit, New Haven, New York, and Providence. More than a million copies of Sumner's speech were distributed. Two weeks after the caning, Ralph Waldo Emerson described the divide the incident represented: "I do not see how a barbarous community and a civilized community can constitute one state. I think we must get rid of slavery, or we must get rid of freedom."


title: Caning of Charles Sumner

text: Conversely, Brooks was praised by Southern newspapers. The "Richmond Enquirer" editorialized that Sumner should be caned "every morning", praising the attack as "good in conception, better in execution, and best of all in consequences" and denounced "these vulgar abolitionists in the Senate" who "have been suffered to run too long without collars. They must be lashed into submission." Southerners sent Brooks hundreds of new canes in endorsement of his assault. One was inscribed "Hit him again."


title: Caning of Charles Sumner

text: Massachusetts Representative Anson Burlingame publicly humiliated Brooks by goading him into challenging Burlingame to a duel, only to set conditions designed to intimidate Brooks into backing down. (As the challenged party, Burlingame, who was a crack shot, had the choice of weapons and dueling ground. He selected rifles on the Canada side of Niagara Falls, where U.S. anti-dueling laws would not apply. Brooks withdrew his challenge, claiming that he did not want to expose himself to the risk of violence by traveling through Northern states to get to Niagara Falls.)


title: Caning of Charles Sumner

text: Senator Henry Wilson, Sumner's colleague from Massachusetts, called the beating by Brooks "brutal, murderous, and cowardly", and in response Brooks challenged Wilson to a duel. Wilson declined, saying that he could not legally or by personal conviction participate, and calling dueling "the lingering relic of a barbarous civilization". In reference to a rumor that Brooks might attack him in the Senate, Wilson told the press "I have sought no controversy, and I seek none, but I shall go where duty requires, uninfluenced by threats of any kind." Wilson continued to perform his Senate duties, and Brooks did not make good on his threat.


title: Caning of Charles Sumner

text: Historian William Gienapp has concluded that Brooks' "assault was of critical importance in transforming the struggling Republican party into a major political force".


title: Caning of Charles Sumner

text: Southerners mocked Sumner, claiming he was faking his injuries. They argued that the cane Brooks used was not heavy enough to inflict severe injuries. They also claimed that Brooks had not hit Sumner more than a few times, and had not hit him hard enough to cause serious health concerns. In fact, Sumner suffered head trauma that caused him chronic, debilitating pain for the rest of his life and symptoms consistent with what is now called traumatic brain injury and post-traumatic stress disorder; he spent three years convalescing before returning to his Senate seat. Massachusetts pointedly did not replace him, and left his empty desk in the Senate as a visible reminder of the incident. The state legislature reelected him in 1857, even though he was unable to take his seat until 1859.


title: Caning of Charles Sumner

text: Brooks claimed that he had not intended to kill Sumner, or else he would have used a different weapon. In a speech to the House defending his actions, Brooks stated that he "meant no disrespect to the Senate of the United States" or the House by his attack on Sumner. Brooks was arrested for the assault. He was tried in a District of Columbia court, convicted, and fined $300 (equivalent to $ in ), but received no prison sentence. A motion for Brooks' expulsion from the House failed, but he resigned on July 15 in order to permit his constituents to ratify or condemn his conduct via a special election. They approved; Brooks was quickly returned to office after the August 1 vote, and then re-elected to a new term of office later in 1856, but he died of croup before the new term began.


title: Caning of Charles Sumner

text: Keitt was censured by the House. He resigned in protest, but his constituents ratified his conduct by overwhelmingly reelecting him to his seat within a month. In 1858, he attempted to choke Representative Galusha Grow of Pennsylvania (Republican) for calling him a "negro driver" during an argument on the House floor.


title: Caning of Charles Sumner

text: In the 1856 elections, the new Republican Party made gains by use of the twin messages of "Bleeding Kansas" and "Bleeding Sumner", because both events served to paint pro-slavery Democrats as extremists. Though the Democrats won the presidential election and increased their majority in the House because the Three-fifths Compromise gave Democrats an advantage, Republicans made major gains in elections for the state legislatures, which enabled them to make gains in the U.S. Senate elections, because senators were chosen by the state legislatures. The violence in Kansas and the beating of Sumner helped the Republicans coalesce and cohere as a party, which set the stage for their victory in the 1860 presidential election.


title: Caning of Charles Sumner

text: During the 1856 lame duck session of Congress, Brooks made a speech calling for the admission of Kansas "even with a constitution rejecting slavery". His conciliatory tone impressed Northerners and disappointed slavery's supporters.


title: Great Commission

text: In Christianity, the Great Commission is the instruction of the resurrected Jesus Christ to his disciples to spread the gospel to all the nations of the world. The Great Commission is outlined in –, where on a mountain in Galilee Jesus calls on his followers to make disciples of and baptize all nations in the name of the Father, the Son, and the Holy Spirit.


title: Great Commission

text: The Great Commission is similar to the episodes of the commissioning of the Twelve Apostles found in the other Synoptic Gospels, though with significant differences. Luke also has Jesus during his ministry dispatching disciples, including the seventy disciples, sending them to all the nations and giving them power over demons. The dispersion of the Apostles in the is thought to be a 2nd-century summary based on Matthew and Luke.


title: Great Commission

text: It has become a tenet in Christian theology emphasizing ministry, missionary work, evangelism, and baptism. The apostles are said to have dispersed from Jerusalem and founded the apostolic sees , such as those at Corinth, Philippi, Ephesus, and Rome (see also: Holy See). Preterists believe that the Great Commission and other Bible prophecies were fulfilled in the 1st century while futurists believe Bible prophecy is yet to be fulfilled at the Second Coming.


title: Great Commission

text: The commission from Jesus has been interpreted by evangelical Christians as meaning that his followers have the duty to go, make disciples, teach, and baptize. Although the command was initially given directly only to Christ's eleven Apostles, evangelical Christian theology has typically interpreted the commission as a directive to all Christians of every time and place, particularly because it seems to be a restatement or moving forward of the last part of God's covenant with Abraham in .


title: Great Commission

text: Commentators often contrast the Great Commission with the earlier Limited Commission of , in which they were to restrict their mission to their fellow Jews, whom Jesus referred to as "the lost sheep of the house of Israel". ()


title: Great Commission

text: Full Preterists believe that the Great Commission was already fulfilled based on the New Testament passages "And they went out and preached everywhere" (), "the gospel that you have heard, which was proclaimed in all creation under heaven" (), and "Now to Him who is able to establish you according to my gospel and the preaching of Jesus Christ, according to the revelation of the mystery which has been kept secret for long ages past, but now is manifested, and by the scriptures of the prophets, according to the commandment of the eternal God, has been made known to all the nations" ().


title: Vritra

text: Vritra () is a danava in Hinduism. He serves as the personification of drought, and is an adversary of the king of the devas, Indra. As a danava, he belongs to the race of the asuras. Vritra is also known in the Vedas as Ahi (Sanskrit: "", lit. "snake"). He appears as a human-like serpent blocking the course of the Rigvedic rivers, and is slain by Indra with his newly-forged vajra.


title: Vritra

text: "Vritra" literally means "cover, obstacle", in reference of him holding back the waters. It stems from Proto-Indo-Iranian "*wr̥trás", from the Proto-Indo-European root "*wer-" "to cover, to obstruct". The Indo-Iranian word is also found in Avestan as "vərəθraγna" (Vedic "vṛtraghná"), literally "(one who) slays obstacles". Functionally, he is related to Jörmungandr of Norse myth, Typhon of Greek myth, and Veles of Slavic myth.


title: Vritra

text: According to the Rig Veda, Vritra kept the waters of the world captive until he was killed by Indra, who destroyed all the 99 fortresses of Vritra (although the fortresses are sometimes attributed to Sambara) before liberating the imprisoned rivers. The combat began soon after Indra was born, and he consumed a large volume of Soma at Tvashtri's house to empower him before facing Vritra. Tvashtri fashioned the thunderbolt (Vajrayudha) for Indra, and Vishnu, when asked to do so by Indra, made space for the battle by taking the three great strides, for which Vishnu became famous, and was later adapted in his legend of Vamana.


title: Vritra

text: Vritra broke Indra's two jaws during the battle, but was then thrown down by Indra and, in falling, crushed the fortresses that had already been shattered. For this feat, Indra became known as "Vṛtrahan" (lit. "Slayer of Vritra" and also as "slayer of the first-born of dragons"). Vritra's mother, Danu, who was also the mother of the danava race of asuras, was then attacked and defeated by Indra with his thunderbolt. In one of the versions of the story, three devas – Varuna, Soma, and Agni – were coaxed by Indra into aiding him in the fight against Vritra, whereas before they had been on the side of Vritra (whom they called "Father").


title: Vritra

text: Hymn 18 of Mandala IV provides the most elaborate account of the Vedic version. The verses describe the events and circumstances leading up to the battle between Indra and Vritra, the battle itself, and the outcome of the battle.


title: Vritra

text: As told in the narration given to King Yudhishthira in the Mahabharata, Vritra was an asura created by the artisan god Tvashtri to avenge the killing of his son by Indra, known as Triśiras or Viśvarūpa. Vritra won the battle and swallowed Indra, but the other deities forced him to vomit Indra out. The battle continued and Indra was eventually forced to flee. Vishnu and the rishis (sages) brokered a truce, with Indra swearing that he would not attack Vritra with anything made of metal, wood or stone, nor anything that was dry or wet, or during the day or the night. Indra used the foam (which Vishnu had entered to ensure victory) from the waves of the ocean to kill him at twilight.


title: Vritra

text: The Srimad Bhagavatam recognizes Vritra as a bhakta (devotee) of Vishnu who was slain only due to his failure to live piously and without aggression. This story runs thus:


title: Vritra

text: SB 6.9.11: After Visvarupa was killed, his father, Tvashta, performed ritualistic ceremonies to kill Indra. He offered oblations in the sacrificial fire, saying, "O enemy of Indra, flourish to kill your enemy without delay."


title: Vritra

text: SB 6.9.12: Thereafter, from the southern side of the sacrificial fire known as Anvaharya came a fearful personality who looked like the destroyer of the entire creation at the end of the millennium.


title: Vritra

text: SB 6.9.13-17: Like arrows released in the four directions, the demon's body grew, day after day. Tall and blackish, he appeared like a burnt hill and was as lustrous as a bright array of clouds in the evening. The hair on the demon's body and his beard and moustache were the colour of melted copper, and his eyes were piercing like the midday sun. He appeared unconquerable as if holding the three worlds on the points of his blazing trident. Dancing and shouting with a loud voice, he made the entire surface of the earth tremble as if from an earthquake. As he yawned, again and again, he seemed to be trying to swallow the whole sky with his mouth, which was as deep as a cave. He seemed to be licking up all the stars in the sky with his tongue and eating the entire universe with his long, sharp teeth. Seeing this gigantic demon, everyone, in great fear, ran here and there in all directions.


title: Vritra

text: SB 6.9.18: That very fearful demon, who was actually the son of Tvashta, covered all the planetary systems by dint of austerity. Therefore, he was named Vritra, or one who covers everything.


title: Vritra

text: Vritra became the head of the asuras (portrayed as inherently malicious here, as opposed to the Vedic version, in which they may be benevolent or malevolent). He renounced his dharma – duty – to do good unto others and turned to violence, battling with the devas. Eventually, he gained the upper hand, and the devas were frightened of his evil might. Led by Indra, they approached Vishnu for help. He told them that Vritra could not be destroyed by ordinary means, revealing that only a weapon made from the bones of a sage could slay him. When the deities revealed their doubts about the likelihood of any ascetic donating his body, Vishnu directed them to approach the rishi Dadhichi. When approached by the deities, Dadhichi gladly gave up his bones for the cause of the good, stating that it would be better for his bones to help them attain victory than to rot in the ground. The devas collected the bones and Indra crafted the Vajrayudha from them. When they engaged Vritra again, the battle lasted for 360 days before Vritra breathed his last.


title: Vritra

text: In Vaishnavism, Vritra is depicted to be a devotee of Vishnu. In the Srimad Bhagavatam, when the vajra-armed Indra and the devas battle against Vritra and his asuras, the Vritra proclaims that were he to fall in battle, he would be blessed, since the vajra was imbued with the power of Vishnu and Dadhichi. During the single combat between Indra and Vritra, the former drops his vajra when he is struck on the cheek. Even as the devas gasp, Vritra merely advises him to pick up his weapon, since life and death are the same for him, as he believes that they are all instruments of Vishnu. Indra marvels at the asura's devotion to the preserver deity. When the king of the devas succeeds in slicing both of his opponent's arms, the latter swallows him whole, along with Airavata. Protected by Vishnu, Indra cuts open the belly of Vritra and escapes, finally beheading him with the vajra. Vritra ascends to Vaikuntha upon his death.


title: Vritra

text: According to the Puranas, the terrible anthropomorphic personification of Brāhmanahatya (Brahmanicide) chased Indra and forced him into hiding for his sin, and Nahusha was invited to take his place.


title: No More Heroes III

text: Production began during the final development stages of the spinoff title "", which released in early 2019 and served as a prequel title. The series' creator and director Goichi Suda had received many fan requests to make a third mainline entry in the franchise after the release of the second game, but development on a new entry would be postponed for many years due to Grasshopper Manufacture working on other projects such as "Lollipop Chainsaw" and "Let It Die". Upon the studio being shown the Nintendo Switch, Suda was inspired to return to the series, believing the games would be a fit for the console's audience and allow for a return to the series' staple motion control combat via the Joy-Con controllers. Much like previous entries in the series, the game pays homage to and parodies pop culture media, taking inspiration from works such as "Rocky III", "Kamen Rider", the Marvel Cinematic Universe, and the filmography of Takashi Miike. Suda has described the game as the conclusion of Travis Touchdown's story.


title: No More Heroes III

text: "No More Heroes III" was announced at E3 2019 with a planned 2020 release, before being delayed into 2021 due to the COVID-19 pandemic slowing down development. Upon its initial Nintendo Switch release on August 27, 2021, the game was met with generally favorable reviews. Additional versions of the game with enhanced visuals and performance were released in October 2022 for PlayStation, Xbox, and Microsoft Windows platforms, published by Marvelous in Japan and Xseed Games in North America.


title: No More Heroes III

text: "No More Heroes III" is a third-person action-adventure game where the player assumes the role of the professional assassin Travis Touchdown, who must climb to the top of the Galactic Superhero Rankings. The game marks a return to the series' open world format last seen in the first game and has the player explore a man-made archipelago, taking on various side activities such as part-time job minigames, and defense missions where the player must battle waves of enemies. In a new addition to the series, the open world is split into five unique islands. The player can traverse around and between the islands with Travis' new modified motorcycle; the "Demzamtiger". Travel between islands can also be expedited via a fast travel system. To progress in the game, the player must accrue enough money from missions to pay an entry-fee to a ranked battle. The player must then face off against one of the Rankings' top contenders in a unique boss battle.


title: No More Heroes III

text: Combat plays out as a hack-and-slash game in real-time. Similar to the previous mainline games, the combat is predominantly centered around Travis' signature "Beam Katana"; a sword with a blade composed of energy. The player can perform various light and heavy combos with the sword. Successful strikes power up the player's "Tension Gauge" whereas taking damage depletes it, higher tension leads to longer and more damaging combos. When an enemy has had their health sufficiently depleted, the player is given a directional prompt to execute a "Killer Slash"; an unstoppable attack with large range that does heavy damage to adjacent enemies. Upon successful execution of enemies, the player activates the "Slash Reel"; a slot machine which gives the random chance of a currency bonus or a power-up. At times the player may lock swords with melee-based enemies, upon which they must perform rotation motions to counter the enemy. The Beam Katana runs on power represented by a battery that gets depleted during attacks. When fully exhausted, the player is left vulnerable and must manually recharge it. The player is able to perform a variety of professional-wrestling techniques on stunned or diverted enemies to deal greater damage and instantly recharge the Beam Katana's battery. Defensive maneuvers exist in the form of blocking and dodging. Dodging an oncoming attack right before it connects initiates a Perfect Dodge, causing enemies to enter a slow-motion state and leaving them susceptible to a flurry of attacks. If the player falls in battle, they are given a random chance of a stat boost upon retrying.


title: No More Heroes III

text: New additions to the series' staple combat mechanics include the "Death Glove" carried over from "". The Death Glove allows the player to perform a teleporting dropkick. An additional three unique skills are obtained that can aid in combat, which include the ability to perform psychokinetic throws, the ability to set up a sentry that automatically fire projectiles at enemies in a radius, and the ability to set down a field that slows down enemies within the radius. All skills operate on a cooldown timer. If the player rolls a jackpot on the Slash Reel (represented by a triple seven) the player is able to activate one of two "Full Armor" modes, which boost the player's attack options and allows them to fire projectiles. A third form of the Full Armor is employed for shooting defense missions, a new side activity which take the form of shoot 'em up mecha battles where the player must defend the planet from large scale aliens.


title: No More Heroes III

text: The player can return to Travis' motel in between missions to upgrade various stats such as their health and weaponry. Unlike previous entries in the series, character upgrades employ a separate currency from the one that is used to purchase items and enter ranked battles. Scrap parts derived from battle missions can be sold off for additional currency or used at the motel to construct Death Glove chips that provide various unique stat modifiers, and the player can also order consumable items in the form of sushi that give players stat boosts in battle, such as increased damage or cooldown reduction on Death Glove abilities. At the motel, the player can also play minigames with Travis' cat, customize his wearable attire, collect capsule toys from a gashapon machine, engage in a combat tutorial room, or use a time machine to revisit past bosses.


title: No More Heroes III

text: "No More Heroes III" takes place in a contemporary setting and is mainly set in the fictional location of Santa Destroy, California; a seedy small town bordering Mexico which has served as the central setting of the series. Since the events of the previous entries the town has undergone urban redevelopment, with high-rise apartment complexes and businesses having spread throughout the town. The redevelopment brought a shift in economy and the construction of an adjacent man-made archipelago collectively named Utopiland. The entire island group is controlled by the megacorporation Utopinia, which has its headquarters stationed in the centermost island at Damon Tower. Alongside Santa Destroy, the neighboring islands of Utopiland consist of Perfect World, a peaceful Americana-influenced suburb; Thunderdome, a salt pan wasteland featuring a Japantown-styled red light district; Call of Battle, a war-torn battlefield; and Neo Brazil, a futuristic cityscape.


title: No More Heroes III

text: Travis Touchdown returns to the role as protagonist, a presently 39-year old otaku and hitman who describes himself as a passing assassin. He takes residence in Santa Destroy as an occupant of the titular No More Heroes motel, living together with his pet cat Jeane who also serves as Travis' navigator. The main antagonist of the game is FU, an alien prince who is royally recognized on his home planet as Jess-Baptiste VI. His companions consist of the strongest aliens from other planets that FU has conquered and make up the Galactic Superhero Rankings. From lowest to highest in ranking they consist of Mr. Blackhole, a wormhole bandit; Gold Joe, a space-ore dealer; Black Night Direction, an alien kidnapper; Vanishing Point, a memory thief; Velvet Chair Girl, a "gastro cannon"; Midori Midorikawa, a dark-world princess; Sniping Lee, a galactic sniper champion; Sonic Juice, a demon god; and Paradox Bandit, an explosions master.


title: No More Heroes III

text: Returning characters from old games include Sylvia Christel, Travis' wife and secretary for Utopinia, who helps set up the ranked battles for Travis. Shinobu Jacobs, Bad Girl, and Dr. Naomi return as Travis' allies, who have taken residence in the No More Heroes motel. Characters that return from "" include Badman, a reluctant ally to Travis and father of Bad Girl; Dr. Juvenile, Naomi's sister and former adversary of Travis who has now become a virtual companion; Bishop, a close friend of Travis' who owns a video game store; Kamui Uehara, an observer and friend of Travis' with mysterious powers; and Damon Ricotello, FU's childhood friend and the CEO of Utopinia who has personal history with Travis. Among new characters are Native Dancer, a mysterious assassin claiming to be from the future; and Notorious, a masked wrestling champion who is also a superhero.


title: No More Heroes III

text: In 2001, a young Damon Ricotello goes to the woods at night and discovers a crash site, encountering FU as a small injured alien larva. Damon decides to take care of FU while hiding him from government agents. The two become friends while searching for a way to return FU to his planet. After discovering a piece of alien technology at FU's crash site, Damon is imbued with alien powers and assists FU in building a space ship. They say goodbye to each other and FU departs, promising to return in 20 years.


title: No More Heroes III

text: Twenty years later (two years after the events of ""), an adult Damon manages Utopinia as its CEO, utilizing FU's alien abilities and technology to prosper and become a wealthy elite. An adult FU returns to Earth in a large spaceship, alongside nine additional aliens, and reveals to Damon that he became a prince after returning to his home world, only to be exiled to an intergalactic prison for destroying a neighboring planet. He announces their intention to team up with Damon and take over Earth by employing the popular trend of superheroism. Travis Touchdown, who had returned to Santa Destroy following , awakes to the city being invaded and fends off waves of aliens together with fellow assassins Shinobu and Bad Girl. He successfully stops the invasion by killing its commander Mr. Blackhole, the first of FU's companions.


title: No More Heroes III

text: After executing the President of the United States on live television, FU announces the establishment of the Galactic Superhero Rankings; a ranked ladder with himself at the top, serving as an open invitation to the strongest fighters to determine the fate of the planet. Still aggrieved by Blackhole's death, FU accosts Travis and his friends at the No More Heroes motel. In the ensuing skirmish, FU incapacitates Travis before dismembering Shinobu and killing Badman when he arrived to her aid. The battle leaves Shinobu in a critical coma and Bad Girl devastated over her father's death, compelling Travis to enter the rankings to fight his way to number one and stop FU. During Travis' ascent, the rankings are infiltrated by Native Dancer, who prematurely kills Black Night Direction. Travis dismisses Native Dancer's story of being a time traveler, but instinctually spares him after they battle. Travis later crosses paths with a grown-up Kimmy Howell after she is found having killed Vanishing Point, still seeking a fight to the death with Travis following their previous encounter in "". Travis reluctantly kills her in their ensuing battle.


title: No More Heroes III

text: Travis spares the life of the fifth ranked fighter Midori Midorikawa after they are intercepted by Kamui Uehara, who reveals that she joined the rankings after a misunderstanding and that the two are in a relationship. During a battle with mass-produced versions of the superhero terrorist Destroyman, Travis befriends the superhero and wrestling champion Notorious, who assists Travis in training. While Travis climbs the ranks, Damon acts on his own to kill Travis, hiring a contract killer who gives him a device that enables him to kill someone. Becoming increasingly frustrated by their inefficiency, FU kills off the two remaining rankers so Travis can face him. After making his way to the second rank, Travis is waylaid at the motel by his brother Henry Cooldown, who still resents Travis for events that followed their shared traumatic upbringing and has seemingly gone insane. After Travis defeats and seemingly kills Henry, he is ambushed and murdered by Henry while using the toilet.


title: No More Heroes III

text: After dying, Travis is sent to the world of "Deathman", a video game that he grew up with, whose protagonist brings Travis back to life with help from Takashi Miike. Joined by the recovered Shinobu and Bad Girl alongside Kamui, Notorious, Midori, and Native Dancer, Travis heads to Damon Tower to fight FU, forcing him back to his larval form with everyone's efforts. FU attempts to flee back to his planet, only for Damon to activate his device and detonate FU's ship, killing FU in the process. Damon explains that he himself masterminded the alien invasion as part of his plan to kill Travis for Damon transforms Damon Tower into a planet destroying mecha, but Travis successfully defeats it after summoning an Arsenal from "Daemon X Machina". Travis and Damon finish their fight on a derelict battlefield in the style of "Super Smash Bros.", where Travis strikes Damon so hard he is completely vaporized.


title: No More Heroes III

text: In a post-credits scene, Travis and his friends give Badman a burial at sea before they are attacked by an alien armada led by FU's father, King Jess-Baptiste V. They are saved by future versions of Travis and Sylvia's children Jeane and Hunter, who also reveal Native Dancer to be Travis' grandson Scott. The trio explain that Henry kills Travis in the future and teams up with an alien force to destroy the planet, and ask Travis to join them to help them change the future.


title: No More Heroes III

text: Development of "No More Heores III" began in early 2019. Prior to the game's development, Grasshopper Manufacture developed and released "Travis Strikes Again: No More Heroes", which was Goichi Suda's first title in a directorial role since the original "No More Heroes" game. While the title was made in part as a tribute to indie games, Suda had expressed long-term intentions for the title to be a stepping stone on the path to a proper numbered entry. The ending of "Travis Strikes Again: No More Heroes" included a playable portion where Travis Touchdown was controlled in third-person, similarly to previous "No More Heroes" titles, with a comment from Travis suggesting that development on a mainline sequel had properly commenced. Suda explained in an interview following the release of the game that the playable segment was a prototype they used in development, and that the intention behind its inclusion was to evoke a similar feeling that viewers get from the post-credits teasers in Marvel Cinematic Universe movies. Suda also confirmed that he would be attending that year's E3, and suggested he would be making an announcement at the event.


title: No More Heroes III

text: During the lead-up to "Travis Strikes Again"'s release, Suda detailed an outline for "No More Heroes III" and expressed his desire to feature assassin battles at a scale similar to that of "The Avengers", comparing the game's adversaries to the supervillain Thanos. He also explained that the Death Glove from "Travis Strikes Again" would carry over into the new game, as its original purposed implementation was to make Travis' skills more distinct as a video game protagonist, and to bolster his ability to contend with the greater enemies planned for "No More Heroes III". The reveal trailer for the game shows Travis battling an invading alien armada and using the Death Glove to don powered armor, utilizing the signature catchphrase of Kamen Rider. Travis is once again voiced by Robin Atkin Downes, while Paula Tiso reprises her role as Sylvia Christel, Travis' wife who has abandoned the assassin world and is now an internet celebrity and influencer. At the time of reveal, Suda wouldn't confirm whether series mainstay Shinobu Jacobs would return, though he stressed that he wanted Kimberly Brooks to reprise the role in the event that she does.


title: No More Heroes III

text: While Yūsuke Kozaki returns to the game as lead character designer, "No More Heroes III" features a range of character guest designers such as pop illustrator Masanori Ushiki, who is responsible for designing the game's alien cast of characters. Suda would confirm that Kimmy Howell from "No More Heroes 2: Desperate Struggle" would be returning and had been redesigned by "Ōkami" and "Bayonetta" character designer Mari Shimazaki. It was also confirmed that series recurring boss character Destroyman would make a return in multiple variations, designed by Skan Srisuwan of Studio HIVE. Travis' twin brother and rival Henry Cooldown appears in the game redesigned by "The Silver Case" and "Flower, Sun, and Rain" illustrator Takashi Miyamoto; and is voiced by Mark Allan Stewart, having been recast after previously being portrayed by Quinton Flynn. Kamui Uehara from "" and "Travis Strikes Again" appears in the game as NT Kamui, redesigned by "Goodnight Punpun" writer and illustrator Inio Asano. Asano also designed the video game incarnation of Midori Midorikawa, a guest character who first made her debut in a spinoff manga for "The 25th Ward: The Silver Case" and who appears in "No More Heroes III" as one of the game's boss characters. Asano, who had met the series' lead character designer Yūsuke Kozaki at his sister's wedding, had expressed interest in working on video games, and was offered a guest designer role by Kozaki for "No More Heroes III". A new character introduced in the game is a mysterious ninja named Native Dancer, designed by "Borderlands" series art director Scott Kester


title: No More Heroes III

text: The core development team of "No More Heroes III" consisted of the same team that developed "Travis Strikes Again: No More Heroes", and was additionally supported by the recruitment of external talent and former Grasshopper Manufacture staff, rounding out the development team at roughly 100 people. Unreal Engine 4 was used again as the development engine. Suda assumed the role of director, writer and designer, with Ren Yamazaki and Nobutaka Ichiki — co-director of "Travis Strikes Again: No More Heroes" and lead director of "" respectively — returning to the franchise as co-directors. While confirming that the game would be playable on traditional controllers, Suda stated that the game was heavily designed around the Joy-Con's motion control capabilities, both in and out of combat. He also confirmed that the open world, which was absent from "No More Heroes 2: Desperate Struggle", was expected to make a return, along with side activities.


title: No More Heroes III

text: As of November 2019, the game was estimated to be 35-45% complete. In detailing the open world, Suda emphasized that the size of the open world would be modest compared to productions by larger scale studios such as Ubisoft and Rockstar Games, though he also confirmed that while the game's budget isn't the biggest a Grasshopper Manufacture game has had, it is the biggest "No More Heroes" game in terms of scope and design. Suda also expressed intentions of providing extra side activities that would be something "greater [and] different than your standard minigame." Compared to "Travis Strikes Again: No More Heroes" which was largely designed around Suda wishing to commemorate indie games and Grasshopper Manufacture's history, the development team designed "No More Heroes III" heavily around fan feedback and what they believe fans look for in a "No More Heroes" game.


title: No More Heroes III

text: Due to the rights of the "No More Heroes" series primarily belonging to Marvelous, Grasshopper Manufacture had to receive special permission to work on "Travis Strikes Again: No More Heroes", as well as "No More Heroes III". Suda stressed that Marvelous were encouraging and co-operative of the development of the two games, but also expressed the need to build Grasshopper Manufacture's future on the back of brand new IP that they have full control over. Because of these factors, "No More Heroes III" was made with the intent to serve as the foreseeable conclusion to the series, and Suda would describe the game as Travis Touchdown's final battle. Despite this, Suda expressed hopes of seeing the character of Travis again, and hasn't ruled out the possibility of returning to the series in the future.


title: No More Heroes III

text: The soundtrack of the game is primarily written and produced by Nobuaki Kaneko, drummer of Japanese alternative metal band Rize. While having had experience composing music for film before, "No More Heroes III" is his first time making music for a video game, and described the experience as requiring a different mindset, having to emphasize consistent tension and making sure tracks can loop. The process would involve sending Suda a variety of different tracks, and letting him decide if they are suited for any of the game's specific moments. The experience making music for the game inspired Kaneko to create his own band; Red Orca. The band's debut single "Orca Force", which released October 2019, was originally made for "No More Heroes III", and an alternate version of the track called "Dead Orca Force" is featured in the game as a boss track. Grasshopper's sound producer, Jun Fukuda, supervised the overall soundtrack and composed several tracks.


title: No More Heroes III

text: Kazuhiro Abo, lead composer of "Travis Strikes Again: No More Heroes", is credited as sound composer and provided additional music contributions for the game. Additional guest composers include Tony Astro, Natsu Fuji, Baku Furukawa, SEKITOVA, and the rapper duo Okumura who collaborated with Abo on the game's sushi song. When it comes to choosing the composers for the upcoming game, Abo stated that he looks into a passionate composer with a nice personality who can make unique tracks with great quality, rather than based on their fame.


title: No More Heroes III

text: "No More Heroes III" was announced at E3 2019 as part of the Nintendo Direct showcase, featuring a reveal trailer of Travis battling alien invaders. Leading up to the reveal Suda advised people to tune into E3, tweeting concept art of FU and new versions of the Santa Destroy insignia, one which served as a homage to the Joy Division album "Unknown Pleasures". A new story trailer, which started out as a fake title called "Goddamn Superhero", premiered at The Game Awards 2019, with CG co-production by animation studios Shirogumi and Kamikaze Douga. During the 2020 New Game Plus Expo event, Suda humorously presented new gameplay combat footage of "No More Heroes III" partially obscured by his superimposed body giving out a mock interview unrelated to the upcoming title, discussing his plans to play other Nintendo Switch games during the COVID-19 pandemic quarantine.


title: No More Heroes III

text: On September 9, 2020, the game was delayed to 2021 due to the effects that the COVID-19 pandemic had on game development. Darick Robertson, the illustrator best known for comics such as "The Boys" and "Transmetropolitan", was announced to be providing illustrations to promote the game, including the game's cover artwork. "No More Heroes III" headlined the Nintendo Direct Mini Partners Showcase on October 28, 2020, which showed off an unobscured representation of gameplay, as well as confirming the return of Badman from "Travis Strikes Again: No More Heroes", and Shinobu Jacobs. The trailer was followed by the announcement of ports of "No More Heroes" and "" that would release the same day for the Nintendo Switch.


title: No More Heroes III

text: The game was featured on the February 2021 Nintendo Direct showcase, showing new footage of bosses and the return of side missions, as well as confirming the game's release date. A selection of the game's main cast and voice actors was confirmed at this time, including the return of Bad Girl and Henry Cooldown. Marvelous, who are publishing the game in Japan, announced a "No More Heroes III" dedicated livestream event for April 8, 2021, hosted by Suda, Mafia Kajita, and Shishiro Botan from Hololive. Several side missions, locales and cutscenes were previewed during the event, and a new series digest trailer premiered which recapped the story and showed updated game play. A Japan-exclusive "Killion Dollar Trilogy" was also announced which bundles all three No More Heroes games with packaging art by Yusuke Kozaki, the Japanese website was updated to feature new game play details, and retailer exclusive purchase bonuses were confirmed, including exclusive in-game shirt designs. During E3 2021, the game was demoed live for the first time using an early build of the game in a 25-minute segment as part of Nintendo's Treehouse presentation. The demo showed off multiple parts of the game including combat with regular enemies, playing with Travis' cat, Jeane, upgrades and a boss fight with Gold Joe. In game t-shirts utilizing save data from previous entries were also announced.


title: No More Heroes III

text: On April 15, 2022, Xseed Games announced that they would be publishing the game for PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S, and Microsoft Windows in Fall of 2022, alongside a physical "Day 1 Edition" on consoles, featuring a 70 page art book, a soundtrack CD with select tracks from the game, and a Santa Destroy commemorative biker license plate. On April 18, 2022, pre-orders were opened for the physical editions, with a tentative release date of October 4, 2022. In Japan, "No More Heroes III" was released for PlayStation and Xbox consoles on October 6, 2022. Prior to launch, publisher Marvelous confirmed that the game would feature enhanced graphics, running at 4K resolution and 60 FPS on PlayStation 5 and Xbox Series X/S. The game would also receive a Japanese dub, with the audio being added to the Nintendo Switch version as a free update on October 5.


title: No More Heroes III

text: "No More Heroes 3" received "generally favorable" reviews for Nintendo Switch and Xbox Series X/S, according to review aggregator Metacritic; the PlayStation 5 received "mixed or average" reviews.


title: No More Heroes III

text: In a positive review, Ian Walker of "Kotaku" wrote "more than establishing a core meaning or truth to cut through the absurdity of reality, "No More Heroes 3" is all about imparting a feeling. Those emotions, by design, will be different for everyone who takes the Jodorowsky-like pill Grasshopper has manufactured into the form of a video game."


title: No More Heroes III

text: According to "Famitsu", the game ranked #9 in Japan on launch week, selling 7,951 copies and becoming the second best-selling new release behind "". The game also debuted at #4 on the weekly sales chart in South Korea, according to "Media Create".


title: Debugging

text: In computer programming and software development, debugging is the process of finding and resolving "bugs" (defects or problems that prevent correct operation) within computer programs, software, or systems.


title: Debugging

text: Debugging tactics can involve interactive debugging, control flow analysis, unit testing, integration testing, log file analysis, monitoring at the application or system level, memory dumps, and profiling. Many programming languages and software development tools also offer programs to aid in debugging, known as "debuggers".


title: Debugging

text: The terms "bug" and "debugging" are popularly attributed to Admiral Grace Hopper in the 1940s. While she was working on a Mark II computer at Harvard University, her associates discovered a moth stuck in a relay and thereby impeding operation, whereupon she remarked that they were "debugging" the system. However, the term "bug", in the sense of "technical error", dates back at least to 1878 and Thomas Edison who describes the "little faults and difficulties" of mechanical engineering as "Bugs".


title: Debugging

text: Similarly, the term "debugging" seems to have been used as a term in aeronautics before entering the world of computers. In an interview Grace Hopper remarked that she was not coining the term. The moth fit the already existing terminology, so it was saved. A letter from J. Robert Oppenheimer (director of the WWII atomic bomb Manhattan Project at Los Alamos, New Mexico) used the term in a letter to Dr. Ernest Lawrence at UC Berkeley, dated October 27, 1944, regarding the recruitment of additional technical staff.


title: Debugging

text: The Oxford English Dictionary entry for "debug" quotes the term "debugging" used in reference to airplane engine testing in a 1945 article in the Journal of the Royal Aeronautical Society. An article in "Airforce" (June 1945 p. 50) also refers to debugging, this time of aircraft cameras. Hopper's bug was found on September 9, 1947. Computer programmers did not adopt the term until the early 1950s.


title: Debugging

text: The seminal article by Gill in 1951 is the earliest in-depth discussion of programming errors, but it does not use the term "bug" or "debugging".


title: Debugging

text: In the ACM's digital library, the term "debugging" is first used in three papers from 1952 ACM National Meetings. Two of the three use the term in quotation marks.


title: Debugging

text: By 1963 "debugging" was a common-enough term to be mentioned in passing without explanation on page 1 of the CTSS manual.


title: Debugging

text: As software and electronic systems have become generally more complex, the various common debugging techniques have expanded with more methods to detect anomalies, assess impact, and schedule software patches or full updates to a system. The words "anomaly" and "discrepancy" can be used, as being more neutral terms, to avoid the words "error" and "defect" or "bug" where there might be an implication that all so-called "errors", "defects" or "bugs" must be fixed (at all costs). Instead, an impact assessment can be made to determine if changes to remove an "anomaly" (or "discrepancy") would be cost-effective for the system, or perhaps a scheduled new release might render the unnecessary. Not all issues are safety-critical or mission-critical in a system. Also, it is important to avoid the situation where a change might be more upsetting to users, long-term, than living with the known (where the "cure would be worse than the disease"). Basing decisions of the acceptability of some anomalies can avoid a culture of a "zero-defects" mandate, where people might be tempted to deny the existence of problems so that the result would appear as zero "defects". Considering the collateral issues, such as the cost-versus-benefit impact assessment, then broader debugging techniques will expand to determine the frequency of anomalies (how often the same "bugs" occur) to help assess their impact to the overall system.


title: Debugging

text: Debugging ranges in complexity from fixing simple errors to performing lengthy and tiresome tasks of data collection, analysis, and scheduling updates. The debugging skill of the programmer can be a major factor in the ability to debug a problem, but the difficulty of software debugging varies greatly with the complexity of the system, and also depends, to some extent, on the programming language(s) used and the available tools, such as "debuggers". Debuggers are software tools which enable the programmer to monitor the execution of a program, stop it, restart it, set breakpoints, and change values in memory. The term "debugger" can also refer to the person who is doing the debugging.


title: Debugging

text: Generally, high-level programming languages, such as Java, make debugging easier, because they have features such as exception handling and type checking that make real sources of erratic behaviour easier to spot. In programming languages such as C or assembly, bugs may cause silent problems such as memory corruption, and it is often difficult to see where the initial problem happened. In those cases, memory debugger tools may be needed.


title: Debugging

text: In certain situations, general purpose software tools that are language specific in nature can be very useful. These take the form of "static code analysis tools". These tools look for a very specific set of known problems, some common and some rare, within the source code, concentrating more on the semantics (e.g. data flow) rather than the syntax, as compilers and interpreters do.


title: Debugging

text: Both commercial and free tools exist for various languages; some claim to be able to detect hundreds of different problems. These tools can be extremely useful when checking very large source trees, where it is impractical to do code walk-throughs. A typical example of a problem detected would be a variable dereference that occurs "before" the variable is assigned a value. As another example, some such tools perform strong type checking when the language does not require it. Thus, they are better at locating likely errors in code that is syntactically correct. But these tools have a reputation of false positives, where correct code is flagged as dubious. The old Unix "lint" program is an early example.


title: Debugging

text: For debugging electronic hardware (e.g., computer hardware) as well as low-level software (e.g., BIOSes, device drivers) and firmware, instruments such as oscilloscopes, logic analyzers, or in-circuit emulators (ICEs) are often used, alone or in combination. An ICE may perform many of the typical software debugger's tasks on low-level software and firmware.


title: Debugging

text: The debugging process normally begins with identifying the steps to reproduce the problem. This can be a non-trivial task, particularly with parallel processes and some Heisenbugs for example. The specific user environment and usage history can also make it difficult to reproduce the problem.


title: Debugging

text: After the bug is reproduced, the input of the program may need to be simplified to make it easier to debug. For example, a bug in a compiler can make it crash when parsing a large source file. However, after simplification of the test case, only few lines from the original source file can be sufficient to reproduce the same crash. Simplification may be done manually using a divide-and-conquer approach, in which the programmer attempts to remove some parts of original test case then checks if the problem still occurs. When debugging in a GUI, the programmer can try skipping some user interaction from the original problem description to check if the remaining actions are sufficient for causing the bug to occur.


title: Debugging

text: After the test case is sufficiently simplified, a programmer can use a debugger tool to examine program states (values of variables, plus the call stack) and track down the origin of the . Alternatively, tracing can be used. In simple cases, tracing is just a few print statements which output the values of variables at particularly points during the execution of the program.


title: Debugging

text: In contrast to the general purpose computer software design environment, a primary characteristic of embedded environments is the sheer number of different platforms available to the developers (CPU architectures, vendors, operating systems, and their variants). Embedded systems are, by definition, not general-purpose designs: they are typically developed for a single task (or small range of tasks), and the platform is chosen specifically to optimize that application. Not only does this fact make life tough for embedded system developers, it also makes debugging and testing of these systems harder as well, since different debugging tools are needed for different platforms.


title: Debugging

text: Despite the challenge of heterogeneity mentioned above, some debuggers have been developed commercially as well as research prototypes. Examples of commercial solutions come from Green Hills Software, Lauterbach GmbH and Microchip's MPLAB-ICD (for in-circuit debugger). Two examples of research prototype tools are Aveksha and Flocklab. They all leverage a functionality available on low-cost embedded processors, an On-Chip Debug Module (OCDM), whose signals are exposed through a standard JTAG interface. They are benchmarked based on how much change to the application is needed and the rate of events that they can keep up with.


title: Debugging

text: In addition to the typical task of identifying bugs in the system, embedded system debugging also seeks to collect information about the operating states of the system that may then be used to analyze the system: to find ways to boost its performance or to optimize other important characteristics (e.g. energy consumption, reliability, real-time response, etc.).


title: Debugging

text: Anti-debugging is "the implementation of one or more techniques within computer code that hinders attempts at reverse engineering or debugging a target process". It is actively used by recognized publishers in copy-protection schemas, but is also used by malware to complicate its detection and elimination. Techniques used in anti-debugging include:


title: Debugging

text: An early example of anti-debugging existed in early versions of Microsoft Word which, if a debugger was detected, produced a message that said, "The tree of evil bears bitter fruit. Now trashing program disk.", after which it caused the floppy disk drive to emit alarming noises with the intent of scaring the user away from attempting it again.


title: Indian Contract Act, 1872

text: The Indian Contract Act, 1872 prescribes the law relating to contracts in India and is the key act regulating Indian contract law. The Act is based on the principles of English Common Law. It is applicable to all the states of India. It determines the circumstances in which promises made by the parties to a contract shall be legally binding. Under Section 2(h), the Indian Contract Act defines a contract as an agreement which is enforceable by law.


title: Indian Contract Act, 1872

text: 1. Offer 2(a): An offer refers to a promise that is dependent on a certain act, promise, or forbearance given in exchange for the initial promise.


title: Indian Contract Act, 1872

text: 2. Acceptance 2(b): When the person to whom the proposal is made, signifies his assent there to, the proposal is said to be accepted.


title: Indian Contract Act, 1872

text: 3. Promise 2(b): A proposal when accepted becomes a promise. In simple words, when an offer is accepted it becomes promise.


title: Indian Contract Act, 1872

text: 4. Promisor and Promisee 2(c): When the proposal is accepted, the person making the proposal is called as promisor and the person accepting the proposal is called as promisee.


title: Indian Contract Act, 1872

text: 5. Consideration 2(d): When at the desire of the promisor, the promisee or any other person has done or abstained from doing or does or abstains from doing or promises to do or to abstain from doing something such act or abstinence or promise is called a consideration for the promise. Price paid by one party for the promise of the other Technical word meaning QUID-PRO-QUO i.e. something in return.


title: Indian Contract Act, 1872

text: 6. Agreement 2(e): Every promise and every set of promises forming the consideration for each other. In short,


title: Indian Contract Act, 1872

text: 7. Reciprocal Promises 2(f): Promises which form the consideration and part of the consideration for each other are called 'reciprocal promises'.


title: Indian Contract Act, 1872

text: 9. Contract 2(h): An agreement enforceable by Law is a contract. Therefore, there must be an agreement and it should be enforceable by law.


title: Indian Contract Act, 1872

text: 10. Voidable contract 2(i): An agreement is a voidable contract if it is enforceable by Law at the option of one or more of the parties there to (i.e. the aggrieved party), and it is not enforceable by Law at the option of the other or others.


title: Indian Contract Act, 1872

text: According to Section 2(a), an offer refers to a promise that is dependent on a certain act, promise, or forbearance given in exchange for the initial promise.


title: Indian Contract Act, 1872

text: According to Section 2(b), "When the person to whom the proposal is made, signifies his assent thereto, the offer is said to be accepted. A proposal, when accepted, becomes a promise."


title: Indian Contract Act, 1872

text: Silence does not per-se amounts to communication- Bank of India Ltd. Vs. Rustom Cowasjee- AIR 1955 Bom. 419 at P. 430; 57 Bom. L.R. 850- Mere silence cannot amount to any assent. It does not even amount to any representation on which any plea of estoppel may be found, unless there is a duty to make some statement or to do some act free and offeror must be consent.


title: Indian Contract Act, 1872

text: According to Section 2(d), Consideration is defined as: "When at the desire of the promisor, the promisee or any other person has done or abstained from doing, or does or abstains from doing, or promises to do or abstain from doing something, such act or abstinence or promise is called consideration for the promise". Consideration means 'something in return'.


title: Indian Contract Act, 1872

text: An agreement must be supported by a lawful consideration on both sides. Essentials of valid consideration must include:-