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Clonal selection
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For the use of clonal selection in general horticulture, see Clonal (plant).
For the use of clonal selection in viticulture, see Propagation of grapevines.
Clonal selection Theory of lymphocytes: 1) A hematopoietic stem cell undergoes differentiation and genetic rearrangement to produce 2) immature lymphocytes with many different antigen receptors. Those that bind to 3) antigens from the body's own tissues are destroyed, while the rest mature into 4) inactive lymphocytes. Most of these will never encounter a matching 5) foreign antigen, but those that do are activated and produce 6) many clones of themselves.
Clonal selection theory is a scientific theory in immunology that explains the functions of cells (lymphocytes) of the immune system in response to specific antigens invading the body. The concept was introduced by the Australian doctor Frank Macfarlane Burnet in 1957, in an attempt to explain the formation of a diversity of antibodies during initiation of the immune response.[1][2] The theory has become a widely accepted model for how the immune system responds to infection and how certain types of B and T lymphocytes are selected for destruction of specific antigens.[3]
The theory states that in a pre-existing group of lymphocytes (specifically B cells), a specific antigen only activates (i.e. selection) its counter-specific cell so that particular cell is induced to multiply (producing its clones) for antibody production. This activation occurs in secondary lymphoid organs such as the spleen and the lymph nodes.[4] In short the theory is an explanation of the mechanism for the generation of diversity of antibody specificity.[5] The first experimental evidence came in 1958, when Gustav Nossal and Joshua Lederberg showed that one B cell always produces only one antibody.[6] The idea turned out to be the foundation of molecular immunology, especially in adaptive immunity.[7]
Contents
[hide]
1 Postulates
2 Early work
3 Further work
3.1 Burnet's clonal selection theory
4 Theories supported by clonal selection
5 See also
6 References
7 Further reading
8 External links
Postulates[edit]
The clonal selection theory can be summarised with the following four tenets:
Each lymphocyte bears a single type of receptor with a unique specificity (by V(D)J recombination).
Receptor occupation is required for cell activation.
The differentiated effector cells derived from an activated lymphocyte will bear receptors of identical specificity as the parental cell.
Those lymphocytes bearing receptors for self molecules will be destroyed at an early stage.
Early work[edit]
In 1900, Paul Ehrlich proposed the so-called side chain theory of antibody production. According to it, certain cells exhibit on their surface different "side chains" (i.e. membrane-bound antibodies) able to react with different antigens. When an antigen comes, it binds to a matching side chain. Then the cell stops producing all other side chains and starts intensive synthesis and secretion of the antigen-binding side chain as a soluble antibody. This was a selection (though not clonal selection) theory far more accurate than the instructive theories that dominated immunology in the next decades.
In 1955, Danish immunologist Niels Jerne put forward a hypothesis that there is already a vast array of soluble antibodies in the serum prior to any infection. The entrance of an antigen into the body results in the selection of only one type of antibody to match it. This may happen by certain cells phagocytosing the immune complexes and somehow replicating the antibody structure to produce more of it.[8]
Further work[edit]
In 1957, David W. Talmage hypothesized that antigens bind to antibodies on the surface of antibody-producing cells and "only those cells are selected for multiplication whose synthesized product has affinity for the antigen". The key difference from Ehrlich's theory was that every cell was presumed to synthesize only one sort of antibody. After antigen binding the cell proliferates, forming a clone producing the same antibody.
Burnet's clonal selection theory[edit]
Later in the same year, Australian immunologist Frank Macfarlane Burnet published a paper titled ‘A modification of Jerne's theory of antibody production using the concept of clonal selection’ in a rather obscure Australian Journal of Science. In it Burnet expanded the ideas of Talmage and named it "clonal selection theory." He further formalised the theory in his 1959 book The Clonal Selection Theory of Acquired Immunity. He explained immunological memory as the cloning of two types of lymphocyte. One clone acts immediately to combat infection whilst the other is longer lasting, remaining in the immune system for a long time, which results in immunity to that antigen. According to Burnet's hypothesis among antibodies are molecules that can correspond probably with varying degrees of precision to all, or virtually all, the antigenic determinants that occur in biological material other than that characteristic of the body itself. Each type of pattern is a specific product of a clone of lymphocytes and it is the essence of the hypothesis that each cell automatically has available on its surface representative reactive sites equivalent to those of the globulin they produce. When an antigen enters the blood or tissue fluids it is assumed that it will attach to the surface of any lymphocyte carrying reactive sites which correspond to one of its antigenic determinants. Then the cell is activated and undergo proliferation to produce a variety of descendents. In this way, preferential proliferation will be initiated of all those clones whose reactive sites correspond to the antigenic determinants on the antigen used. The descendents will be capable of active liberation of soluble antibody and lymphocytes which can fulfil the same functions as the parental forms.[5][9]
In 1958, Gustav Nossal and Joshua Lederberg showed that one B cell always produces only one antibody, which was the first evidence for clonal selection theory.[6]
Theories supported by clonal selection[edit]
Burnet and Peter Medawar worked together on understanding immunological tolerance, a phenomenon also explained by clonal selection. This is the organism’s ability to tolerate the introduction of cells without an immune response as long as this occurs early in the organism’s development. There are a vast number of lymphocytes occurring in the immune system ranging from cells which are tolerant of self tissue to cells which are not tolerant of self tissue. However, only cells that are tolerant to self tissue will survive the embryonic stage. If non-self tissue is introduced, the lymphocytes which develop will be the ones which included the non-self tissues as self tissue.
In 1959 Burnet proposed that under certain circumstances, tissues could be successfully transplanted into foreign recipients. This work has led to a much greater understanding of the immune system and also great advances in tissues transplantation. Burnet and Medawar shared the Nobel Prize in Physiology or Medicine in 1960.
In 1974 Niels Kaj Jerne proposed that the immune system functions as a network, that is regulated via interactions between the variable parts of lymphocytes and their secreted molecules. Immune network theory is firmly based on the concept of clonal selection. Jerne won the Nobel Prize in Physiology or Medicine in 1984, largely for his contributions to immune network theory.
See also[edit]
Adaptive immune system
Clonal selection algorithm
Immune system
Universal Darwinism
References[edit]
Jump up ^ Burnet, FM (1976). "A modification of Jerne's theory of antibody production using the concept of clonal selection". CA: A Cancer Journal for Clinicians. 26 (2): 119–21. doi:10.3322/canjclin.26.2.119. PMID 816431.
Jump up ^ Cohn, Melvin; Av Mitchison, N.; Paul, William E.; Silverstein, Arthur M.; Talmage, David W.; Weigert, Martin (2007). "Reflections on the clonal-selection theory". Nature Reviews Immunology. 7 (10): 823–830. doi:10.1038/nri2177. PMID 17893695.
Jump up ^ Rajewsky, Klaus (1996). "Clonal selection and learning in the antibody system". Nature. 381 (6585): 751–758. doi:10.1038/381751a0. ISSN 0028-0836.
Jump up ^ Murphy, Kenneth (2012). Janeway's Immunobiology 8th Edition. New York, NY: Garland Science. ISBN 9780815342434.
^ Jump up to: a b Jordan, Margaret A; Baxter, Alan G (2007). "Quantitative and qualitative approaches to GOD: the first 10 years of the clonal selection theory". Immunology and Cell Biology. 86 (1): 72–79. doi:10.1038/sj.icb.7100140. PMID 18040281.
^ Jump up to: a b Nossal, G. J. V.; Lederberg, Joshua (1958). "Antibody Production by Single Cells". Nature. 181 (4620): 1419–1420. doi:10.1038/1811419a0. PMID 13552693.
Jump up ^ Medzhitov, R. (2013). "Pattern Recognition Theory and the Launch of Modern Innate Immunity". The Journal of Immunology. 191 (9): 4473–4474. doi:10.4049/jimmunol.1302427. PMID 24141853.
Jump up ^ Burnet, F. M. (1976). "A Modification of Jerne's Theory of Antibody Production using the Concept of Clonal Selection". CA: A Cancer Journal for Clinicians. 26 (2): 119–121. doi:10.3322/canjclin.26.2.119. ISSN 0007-9235. PMID 816431.
Jump up ^ Hodgkin, Philip D; Heath, William R; Baxter, Alan G (2007). "The clonal selection theory: 50 years since the revolution". Nature Immunology. 8 (10): 1019–1026. doi:10.1038/ni1007-1019. PMID 17878907.
Further reading[edit]
Podolsky, Alfred I. Tauber; Scott H. (2000). The Generation of Diversity : Clonal Selection Theory and the Rise of Molecular Immunology (1st paperback ed.). Cambridge, Mass.: Harvard Univ. Press. ISBN 0-674-00182-6.
"Biology in Context - The Spectrum of Life" Authors, Peter Aubusson, Eileen Kennedy.
Forsdyke D.R. (1995). "The Origins of the Clonal Selection Theory of Immunity". FASEB Journal. 9: 164–66.
External links[edit]
Animation of clonal selection from the Walter & Elisa Hall institute.
Biology portal
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Salt in the Bible
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The role of salt in the Bible is relevant to understanding Hebrew society during the Old Testament and New Testament periods. Salt is a necessity of life and was a mineral that was used since ancient times in many cultures as a seasoning, a preservative, a disinfectant, a component of ceremonial offerings, and as a unit of exchange. The Bible contains numerous references to salt. In various contexts, it is used metaphorically to signify permanence, loyalty, durability, fidelity, usefulness, value, and purification.
Contents
[hide]
1 Salt sources in Ancient Israel
2 Salt in the Old Testament
3 Salt in the New Testament
4 See also
5 Notes
6 Bibliography
Salt sources in Ancient Israel[edit]
The main source of salt in the region was the area of the Dead Sea, especially the massive, about seven miles long, salt cliffs of Jebel Usdum.[1] The face of the ridge is constantly changing as weather interacts with the rock salt. Ezekiel 47:11 highlights the importance of the Dead Sea's salt.[2]
The Hebrew people harvested salt by pouring sea water into pits and letting the water evaporate until only salt was left. They used the mineral for seasoning and as a preservative. In addition, salt was used to disinfect wounds.[citation needed] In 2 Chron 13:5 King Abijah referred to God's covenant promise to David that he will not lack a man to seat on Israel's throne as a Salt covenant - that is a covenant that can never be broken.
Salt in the Old Testament[edit]
An angel leads Lot out of Sodom and destroys the City; as in Genesis 19:25-26
The fate of Lot's wife, being turned to a pillar of salt, is found in Genesis 19:26. This is the reason for the naming of the pillar on Mount Sodom, which is often called "Lot's Wife".
Leviticus 2:13 and Ezekiel 43:24 illustrate the requirement of salt as part of ancient Hebrew religious sacrifices. Leviticus 2:13 reads: "And every offering of your grain offering you shall season with salt; you shall not allow the salt of the covenant of your God to be lacking from your grain offering. With all your offerings you shall offer salt."[3]
Salt was cast on the burnt offering (Ezekiel 43:24) and was part of the incense (Exodus 30:35). Part of the temple offering included salt (Ezra 6:9).
Salt was widely and variably used as a symbol and sacred sign in ancient Israel Numbers 18:19 and 2 Chronicles 13:5 illustrate salt as a covenant of friendship. In cultures throughout the region, the eating of salt is a sign of friendship. Salt land is a metaphorical name for a desolate no man's land, as attested in Psalms 107:34, Job 39:6, and Jeremiah 17:6. The land of defeated cities was salted to consecrate them to a god and curse their re-population, as illustrated in Judges 9:45.
Bishop K.C. Pillai, from India, testifies that the salt covenant is much more than a covenant of friendship. It is an irrevocable pledge and promise of fidelity. Those who have taken salt together would rather die before they would break their covenant. He further states that the penalty for violating such a covenant is death.[4]
Newborn babies were rubbed with salt. A reference to this practice is in Ezekiel 16:4: "As for your nativity, on the day you were born your navel cord was not cut, nor were you washed in water to cleanse you; you were not rubbed with salt nor wrapped in swaddling cloths."
The significance of rubbing a newborn with salt is to indicate that the child would be raised to have integrity, to always be truthful.[5]
Salt in the New Testament[edit]
The Salt and Light passages in the Sermon on the Mount make reference to salt. Matthew's account differs slightly from that of Luke and Mark. Matthew 5:13 refers to his disciples as "the salt of the earth." This meaning is paralleled in the following verse, Matthew 5:14, in the symbolism of the "light of the world." Another view is that the Salt and Light passages refer to a duality of roles in the disciples to be like a light from a city, viewable from all over the world, and to be spread out as salt is:[6] to congregate and spread. Matthew, Mark, and Luke accord in the discussion of salt "that has lost its taste." This is a reference to salt that is contaminated with other minerals, causing a weakness in flavor or a bland unpleasant taste.[citation needed] It may be a symbolic reference to the possibility of abandoning or deviating from the gospel, especially due to the adulteration of its teachings.[7] Another interpretation is that in a world filled with sin and deceit, it is possible for one to become contaminated and thus unsuccessful at being an effective disciple.[citation needed] Therefore, this verse serves as a warning for disciples to be on their guard; to be in the world, but not of the world.[8]
Mark 9:49 speaks about the salting of the condemned, which is a rhetorical device indicating the severity of the punishment. Mark 9:50 reads in part: "Have salt in yourselves, and be at peace with one another." The salt in this verse refers to the goodwill that "seasons" positive relationships between people. This is also a play on the covenant of salt, indicating friendship and compassion. Colossians 4:6 uses the metaphor of salt seasoning speech to indicate speaking with intelligence and consideration.[9]
See also[edit]
Matthew 5:13
Notes[edit]
Jump up ^ M.G. Easton M.A., D.D., Illustrated Bible Dictionary, Third Edition, published by Thomas Nelson, 1897.
Jump up ^ McKenzie (1995), pg. 759.
Jump up ^ McKenzie (1995), p. 759
Jump up ^ Light through an Eastern Window, page 24.
Jump up ^ Light through an Eastern Window, page 41.
Jump up ^ http://www.ajesuschurch.org/salt-light-series/?sermon_id=859
Jump up ^ McKenzie (1995), pp. 759-60.
Jump up ^ Richison, Grant. "Verse-by-verse Commentary:Matthew 5:13". Retrieved 19 July 2010.
Jump up ^ McKenzie (1995), p. 760.
Bibliography[edit]
McKenzie, John L. Dictionary of the Bible. Simon and Schuster, 1995. ISBN 0-684-81913-9.
Pillai, K. C. Light through an Eastern Window. American Christian Press, 1987. ISBN 0-910068-63-1
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Saints Row IV
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Saints Row IV
Developer(s)
Volition
High Voltage Software (PS4/XB1)
Publisher(s)
Deep Silver
Director(s)
Scott Phillips
Producer(s)
Jim Boone
Designer(s)
Bryan Dillow
Programmer(s)
Ryan Spencer
Artist(s)
Stephen Quirk
Writer(s)
Jason L. Blair
Steve Jaros
Composer(s)
Malcolm Kirby Jr.
Series
Saints Row
Engine
Havok
Platform(s)
Microsoft Windows, PlayStation 3, Xbox 360, PlayStation 4, Xbox One, Linux
Release
PC, PS3, X360
NA: August 20, 2013
EU: August 23, 2013
AU: September 12, 2013
PS4, XONE
NA: January 20, 2015
EU: January 23, 2015
Linux
WW: December 21, 2015
Genre(s)
Action-adventure
Mode(s)
Single-player, multiplayer
Saints Row IV is an open world action-adventure video game developed by Volition and published by Deep Silver. It is the fourth title in the Saints Row series. In the game, the playable character is the leader of the 3rd Street Saints, a street gang that has become the world's most powerful and popular organization, and must fend off an alien invasion after becoming President of the United States and receiving superpowers. The player is free to explore their environment while completing main and side missions at their leisure. The game incorporates elements from science fiction video games and films, and continues the series' reputation for over-the-top parody. It was released in August 2013 for Microsoft Windows, PlayStation 3, and Xbox 360, and was later ported to PlayStation 4, Xbox One, and Linux in 2015.
The game was Volition's first after its sale to Koch Media in early 2013. The supernatural and superpower concept for the game started in Enter the Dominatrix, a cancelled expansion planned for Saints Row: The Third, which the team expanded into Saints Row IV. Volition later released a "director's cut" of Enter the Dominatrix as downloadable content for Saints Row IV alongside How the Saints Saved Christmas, other weapons, costumes, and vehicle packs, and a standalone expansion, Saints Row: Gat out of Hell (which serves as the epilogue to the story). Saints Row IV received several limited and summative edition releases, and was briefly banned in Australia. Critics praised Saints Row IV's humor and character customization options, but criticized for its lack of challenge and reusage of content from The Third.[citation needed] It sold over one million copies in its first week.
Contents
[hide]
1 Gameplay
2 Synopsis
2.1 Plot
2.2 Characters
3 Development
3.1 Release and downloadable content
4 Reception
5 References
6 External links
Gameplay[edit]
Similar to previous Saints Row series games,[1] Saints Row IV is an open world action game with third-person shooter elements wherein the player is free to explore the environment and, at their leisure, play story or side missions.[2] As the leader of the Saints, a street gang that has become the world's most "powerful and popular" organization, the player is elected President of the United States, receives superpowers, and fends off an alien invasion.[2] Most often the player will engage in shooting and racing activities, though other activities vary from fighting crowds of zombies, shoot-outs in tanks,[2] side-scrolling brawlers, fights against supersized, daikaiju energy drink cans, and using a dubstep gun to interrupt 1950s Americana.[3] The player-character receives elemental powers and superpowers that greatly increase their jump height and running speed, such that the player can hop over buildings and outrun vehicles.[2] The elemental powers include abilities to shoot fire and ice projectiles, telekinetically toss things, and create shockwaves upon landing jumps.[3] As the player progresses through the game, they can optionally upgrade their abilities and weapons skill tree[2] by using collectible "data clusters" scattered around town.[3] If the player becomes too rowdy, the alien race's police analogue will intervene.[3] As in previous games, the player-character's look and feel is entirely customizable via a robust character editor feature.[1]
The game is set in a nearly identical[1] simulation of Steelport, the fictional city setting from Saints Row: The Third,[3] though individual story missions have new, custom-designed levels.[1] Saints Row IV's story parodies science fiction video games, especially Mass Effect 2, as well as films like The Matrix and Zero Dark Thirty, and other "nerd culture".[2] Some story missions are propelled by individual characters' existential crises,[2] as each Saint character is stuck in a personal simulation of their own hell, and must be rescued by the player.[3] Other elements borrowed from video game culture include BioWare-style character romances games and a Metal Gear-style mission with an unhelpful partner.[3]
City districts are "liberated" from alien occupation as the player completes side missions in occupied districts.[3] Liberated districts increase the player's hourly income, which can be spent on weapons, skills, and perks. Side missions include Insurance Fraud (where the player jumps into traffic to collect insurance money),[3] demolition derby-style Mayhem, and superpowered foot races. Saints Row IV has a two-player cooperative mode.[1]
Synopsis[edit]
Plot[edit]
A few months after the events of Saints Row: The Third, The Boss, Shaundi and Pierce Washington are called upon to assist MI-6 agent Asha Odekar and her contact, reformed former Deckers leader Matt Miller, in infiltrating a Middle Eastern compound to assassinate former STAG leader Cyrus Temple and prevent a nuclear missile strike against Washington D.C. The Boss kills Cyrus, but is unable to stop him from launching the missile. Climbing aboard it, the Boss disarms the nuke before it reaches Washington, earning the adoration of America.
Five years later, The Boss has been elected President of the United States, with the other members of the Saints, Keith David and former Vice Kings leader Benjamin King acting as cabinet. While preparing for a press conference, the Boss is told that Asha and Matt have arrived at the White House to warn them of what they suspect is an impending alien invasion. Just as the Boss is informed, the invasion begins, spearheaded by the alien warlord Zinyak, who captures the entire cabinet, including the Boss.
The Boss wakes up in a 1950s sitcom set in the city of Pleasantville, devoid of violence and foul language. The Saints' computer hacking specialist, Kinzie Kensington, contacts the Boss and informs them that they are trapped inside a simulation, with each of the Zin's prisoners trapped inside personal simulations of their own fears in order to break their will. With Kinzie's help, the Boss breaks free of the simulation and joins Kinzie and Keith in a stolen Zin ship.
While the trio attempt to contact reinforcements from Earth, Zinyak atomizes the planet and then explodes, killing everyone not already captured by the Zin, including Oleg Kirlov, Josh, Zimos, and Viola. Enraged, the Boss returns to the Steelport simulation to find their friends and reach Zinyak. After rescuing another prisoner of Zinyak, an artificial intelligence later named CID, and providing him with a physical body, the Boss, with his help, goes into the other Saint's simulations and rescues them from their nightmares.
As the simulation begins to weaken under the Saints' influence, Zinyak floods virtual Steelport with copies of gang members the Boss has faced in the past. Kinzie determines that the copies are being made from someone's memory, leading the Boss to conclude Johnny Gat, who was seemingly killed during the events of Saints Row: The Third, is still alive and trapped within the simulation. Despite protests from Kinzie and Matt that rescuing Johnny will reveal their location to Zinyak, the Boss rescues Johnny from his nightmare of Aisha's death and gets him back to the ship. Johnny explains that during the fight in which he was presumed killed, he was actually abducted by Zinyak years in advance of their invasion, as Zinyak had concluded that Johnny could have single-handedly stopped him if left on Earth.
The Saints rally inside the simulation in order to confront Zinyak, but are ambushed by an enormous Zin force. They escape, but Kinzie is captured by Zinyak and the Boss emerges from the simulation to find that Keith betrayed the Saints and fled. Returning to Steelport, the Boss finds Keith has been declared president of the simulation. When confronted, Keith claims that Zinyak has the means to restore Earth, and has agreed to do so in exchange for the Boss' life. The Boss, determined to find Kinzie, pursues Keith into his nightmare, and with help from Roddy Piper, beats Keith up until he barely manages to tell them where Kinzie has been taken to, Keith ultimately comes to his senses and rejoins the Saints.
After the Boss rescues Kinzie from her nightmare, she devises a plan to crash the simulation, which will force the Zin to draw power from their ship to keep it running, thus weakening the ship itself and creating an opening for the Saints to enter. Working together, the remaining Saints manage to overload the simulation, shutting it down just as the Boss escapes. Assaulting Zinyak's ship, the Boss finds power armor emulating the powers they had in the simulation, and confronts Zinyak in his throne room. While the entire Zin Empire watches, Zinyak and the Boss battle each other. With help from the Saints, the Boss kills Zinyak by tearing his head off and emerges victorious. Impressed, the Zin forces surrender to the Boss, who becomes the new head of the Zin Empire.
The Boss asks Zinjai, Zinyak's main servant, for technology to bring Earth back. Zinjai says they cannot restore Earth, but can use time-travel technology to return to Earth, explaining that Zinyak had used this technology to collect his favorite historical figures, keeping them in suspended animation. The Boss looks at the Saints and says, "Let's go on a field trip." In a post-credits scene, the nineteenth century writer Jane Austen, whom the Boss is a fan of, is woken out of her stasis, revealing that she had been the narrator throughout the game.
If all of the loyalty missions have not been completed, an alternate ending out plays out, which sees the Saints make plans to take over more planets, unaware of their ability to use the technology.
Characters[edit]
A number of characters from earlier games in the franchise - both members of the Third Street Saints and former adversaries - make a return in Saints Row IV, many of whom take up the protagonist's Presidential administration. Kinzie Kensington, the socially awkward FBI hacker from Saints Row: The Third becomes the White House's press secretary, often tasked with clearing up the mess left behind by the President's verbal missteps. Benjamin King, former leader of the Vice Kings gang from the original Saints Row, becomes the President's Chief of Staff, while Pierce Washington has been appointed the Communications Director and Shaundi as the Director of the Secret Service.
Matt Miller, having abandoned the Deckers and, according to news broadcasts in Saints Row: The Third, announced an abstinence from the use of technology, presumably returned to the United Kingdom and became employed by MI-6 alongside new character Asha Odekar. Johnny Gat also returns after being thought dead in Saints Row: The Third. Stilwater, the location of the first two games, makes an appearance for one mission with most of the street gangs from the first three games making appearances as well.
Development[edit]
After the release of Saints Row: The Third, preliminary work on a game called Saints Row: Part Four began. The game would take place after the events of The Third in a new city and feature gameplay similar to The Third.[4] Meanwhile a standalone expansion to The Third called Enter the Dominatrix was first announced as a 2012 April Fool's joke,[5] but still went into development. The expansion pack's basic concept included a superpowered player-character trapped by alien commander Zinyak in a simulation of Steelport.[6] With THQ suffering financially, its president Jason Rubin encouraged company subsidiary and Saints Row series developer Volition to grow elements from the expansion into a full game.[7] The company announced this change in direction in June 2012,[8] cancelling Saints Row: Part Four and expanding Enter the Dominatrix into a full sequel, Saints Row IV.[7] The company's strategy was partly to avoid sales issues by releasing the game in August 2013, prior to the circulation of rumors about next generation video game consoles.[7] Volition was sold to Koch Media in early 2013 when its parent company, THQ, filed for bankruptcy. It became Koch's first internal video game studio. The studio officially announced Saints Row IV two months later, which was published by Koch Media brand Deep Silver. Acquired without rights to their Red Faction series, Volition's new goals were to make connected, open world games where "the player is an agent of mayhem". The entire company worked on the one game.[7]
Each of the Saints Row series games had a core intent, and while the first three games built on the first's "outlandishness and irreverence", the fourth focused on "the supernatural and superpowers".[9] Senior producer Jim Boone recalled reviewers that asked whether the company could be "more over-the-top" than Saints Row: The Third, which they took as a challenge.[7] The team focused more on making the game "fun" than "for the sake of being over the top", and felt that superpowers helped the game's basic navigation and combat.[7] They also chose to remove the previous game's in-game mobile phone-based navigation, which hindered its narration, and replaced it with a "quest log structure".[7] The team chose not to devote as much time improving the game's graphics, considering the impending release of next generation platforms. The game spent less time in development than prior series games.[7]
In August 2014, Volition announced that they would be releasing a development kit for the Windows version of the game, which lets players modify game assets[10] and create new weapons.[11]
The in-game radio has seven pre-programmed radio stations and 109 licensed tracks. The game's original soundtrack is composed by Malcolm Kirby Jr.,[12] who also composed the previous game's soundtrack.[13]
On November 2016, the PC version included Steam Workshop, allowing players to release a wide number of mods such as characters and weapons included in the game.
Release and downloadable content[edit]
See also: Enter the Dominatrix and Saints Row: Gat Out of Hell
Saints Row IV was released for Microsoft Windows, PlayStation 3, and Xbox 360 in North America on August 20, 2013, and worldwide on three days later.[14] Preorders included a patriot-themed downloadable content pack that included flamethrower, dubstep, and rocket launcher weapons, a bald eagle jet, and an Uncle Sam outfit.[15] A limited edition release of the game included a replica of the game's dubstep gun, a doomsday button, and Johnny Gat statuette.[16] Another limited edition release, the Game of the Generation Edition, included the previous items as well as a display case for the game.[14] The game was originally refused ratings classification and effectively banned in Australia,[17] but was later accepted when modified to remove an optional mission[18] that involved an anal probe weapon and incentivized drug use.[19] The country's PlayStation 4 release was later recalled due to a classification error.[20]
The game received multiple downloadable content packs. A Season Pass, which features two new mission packs and the aforementioned anal probe weapon, was announced prior to the game's release. The first mission pack, Enter the Dominatrix,[21] was released October 22, 2013.[22] The pack was originally intended as a mission pack for Saints Row: The Third but evolved into the full sequel, Saints Row IV. The leftover content became the sequel's first mission pack.[23][24] It tells an alternative story about the Zin invasion wherein the Steelport simulation is hijacked by a rogue artificial intelligence called the Dominatrix. The pack's storytelling frequently breaks the fourth wall and self-referentially acknowledges its own plot holes and incongruence with the larger Saints Row story.[25] Some scenes end in concept art or videos of Volition employees acting out the drama so as to give the game an unfinished feel. The pack also casts characters from Saints Row: The Third who did not return in the sequel.[25] There are five missions in total,[26] new weapons, vehicles, and computer-controlled support characters ("homies").[25] The second and final mission pack, How the Saints Save Christmas, features new weapons and vehicles and a plot to save Santa Claus from the Steelport simulation. It was released in December 2013.[27] Non-mission downloadable content packs include new costumes, vehicles, and weapons, e.g., face masks of United States Presidents George Washington, Abraham Lincoln, George W. Bush, and Barack Obama.[28]
Saints Row IV was released in several summative editions.[29] The Game of the Century edition included 20 downloadable content sets and was released May 9, 2014.[30] The National Treasure Edition included 29 downloadable content sets and was released on July 8, 2014.[29] High Voltage Software ported the game to PlayStation 4 and Xbox One with all of its downloadable content as Saints Row IV: Re-Elected. It was announced in late August 2014 alongside Saints Row: Gat Out of Hell, a standalone Saints Row IV expansion developed by Volition in conjunction with High Voltage.[11] Both were released in North America on January 20, 2015, and worldwide three days later,[31] both separately and bundled together. The release included new features such as voice commands.[11] A Linux port was presented in December 2015.
Reception[edit]
Reception
Aggregate scores
Aggregator
Score
GameRankings (PC) 89%[32]
(X360) 83%[33]
(PS3) 80%[34]
Metacritic (PC) 86/100[35]
(X360) 81/100[36]
(PS3) 76/100[37]
(PS4) 75/100[38]
(XONE) 73/100[39]
Review scores
Publication
Score
Eurogamer 8/10[3]
IGN 7.3/10[1]
Polygon 9/10[2]
The game received generally positive reviews, according to video game review aggregator Metacritic.[35][36][37] Reviewers praised its over-the-top humor and character customization options,[1][2] and criticized its lack of challenge.[1][3] Several also commented on its "even-handed treatment" of gender, particularly female characters,[2][3] and spotlighted hacker and former FBI agent Kinzie Kensington's character performance.[1][3] Saints Row IV sold over one million copies in its first week,[28] and as of 2013, Volition has not released total sales figures.[40]
Polygon's Danielle Riendeau described Saints Row IV as "big, goofy, and self-referential fun" and thought that the game accomplished what it set out to be: "an outrageous exercise in player power fantasy".[2] She also praised the game's degree of freedom around character identity, its "dumb and lovable" narrative, and its transitions between varied sequences. Riendeau wrote that Volition "trimmed the fat" from previous games, and that their addition of superpowers "blew the constraints off a genre already known for player freedom".[2] She considered the story funny and "as obvious as can be", but found its characters "well-realized".[2] Riendeau particularly praised the game's "treatment of gender"—bold female characters who could pursue same-sex relationships or even switch their gender mid-game, and were not treated differently for being female—but found the game's continued association between women and sex workers "problematic" and a "vestige from the series' roots as a juvenile crime drama".[2]
Reflecting on the series' progression, Eurogamer's Chris Schilling said that Saints Row IV successfully reinvented the series yet again, with superpowers replacing the usefulness of in-game vehicles. He compared the game's exploration mechanics to that of Crackdown, and its superpowers to the Infamous and Prototype series, and added that the game's silliness fulfilled a specific niche in gaming. Schilling wrote that the need to restock at ammo shops was a "jarring holdover" from the previous games, but appreciated the recurrence of elements such as the GPS navigation system, side mission gameplay, and city district liberation.[3] He regarded the game overall as artful but "gloriously dumb", like "the Sistine Chapel ceiling of stupidity".[3] Schilling also commented on how he felt an urge to simply forgo the story to search for collectibles, though despite these options, the game became "wearying" over long play sessions.[3]
Similarly, Dan Stapleton of IGN became bored when his superhero protagonist had little "to overcome", and ultimately likened the game to "enabling god-like cheat codes" in its predecessor.[1] He wrote that it was very difficult to die, given the large amount of power-ups dropped by enemies, and that the otherwise praiseworthy features from Saints Row: The Third felt "vestigial" when outmoded by superpowers.[1] Stapleton said the player received the powers too early, which let the player play without caring about the city, and thus removed the "sense of place and character it had in the previous game".[1] He considered the game's large number of collectibles an acknowledgement of this hole, which while originally rewarding, quickly becomes a "chore".[1] Stapleton praised the Red Faction-style Disintegrator and Abductor guns, though considered the dubstep gun an "ineffective disappointment".[1] As a symbol, though, Polygon described the dubstep gun as "iconic" of Saints Row IV.[41]
References[edit]
^ Jump up to: a b c d e f g h i j k l m n Stapleton, Dan (August 14, 2013). "Saints Row IV Review: Nerf the Saints". IGN. Ziff Davis. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
^ Jump up to: a b c d e f g h i j k l m n Riendeau, Danielle (August 14, 2013). "Saints Row 4 Review: Suit and Tie". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
^ Jump up to: a b c d e f g h i j k l m n o p Schilling, Chris (August 14, 2013). "Saints Row 4 review". Eurogamer. Gamer Network. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ https://www.youtube.com/watch?v=bXKeOTo9AH0
Jump up ^ Reilly, Jim (April 1, 2012). "April Fool's Round Up". Game Informer. GameStop. Archived from the original on May 18, 2014. Retrieved May 18, 2014.
Jump up ^ Gera, Emily (May 3, 2012). "Saints Row: The Third expansion Enter the Dominatrix confirmed". Polygon. Vox Media. Archived from the original on May 17, 2014. Retrieved May 17, 2014.
^ Jump up to: a b c d e f g h Grant, Christopher (April 12, 2013). "Agent of Mayhem: The Life and Near Death of Saints Row's Volition". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
Jump up ^ Gera, Emily (June 20, 2012). "'Saints Row 3' expansion no longer in development, content merging with sequel". Polygon. Vox Media. Archived from the original on May 17, 2014. Retrieved May 17, 2014.
Jump up ^ Lien, Tracey (September 5, 2014). "Sleeping Beauty and Snow White inspired Saints Row: Gat Out of Hell". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
Jump up ^ Good, Owen S. (August 31, 2014). "Modders rejoice: Saints Row 4's development kit will be made public". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
^ Jump up to: a b c Grant, Christopher (August 29, 2014). "Saints Row 4: Re-Elected coming to PS4 and Xbox One, $30 this January". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
Jump up ^ Pitcher, Jenna (August 6, 2013). "Saints Row 4 tracklist revealed, features 109 tracks". Polygon. Vox Media. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Sumthing Else Music Works (November 16, 2011). "Sumthing Else Music Works Releases Saints Row: The Third - The Soundtrack". GamersHell (Press release). Archived from the original on May 17, 2014. Retrieved May 17, 2014.
^ Jump up to: a b Corriea, Alexa Ray (July 26, 2013). "Saints Row 4 gets limited 'Game of the Generation' edition". Polygon. Vox Media. Archived from the original on March 6, 2015. Retrieved March 6, 2015.
Jump up ^ McWhertor, Michael (April 22, 2013). "Saints Row 4 pre-orders get extremely patriotic Commander in Chief Edition upgrade". Polygon. Vox Media. Archived from the original on March 6, 2015. Retrieved March 6, 2015.
Jump up ^ Sarkar, Samit (June 5, 2013). "Get down with Saints Row 4's $99.99 Super Dangerous Wub Wub Edition". Polygon. Vox Media. Archived from the original on March 6, 2015. Retrieved March 6, 2015.
Jump up ^ Reilly, Luke (June 25, 2013). "Saints Row IV banned in Australia". IGN. Ziff Davis. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Reilly, Luke (August 1, 2013). "Saints Row IV cleared for Australian release". IGN. Ziff Davis. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Reilly, Luke (July 29, 2013). "Saints Row IV refused classification in Australia. Again.". IGN. Ziff Davis. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Serrels, Mark (January 27, 2015). "Saints Row IV Being Recalled From Stores Across Australia". Kotaku. Gawker Media. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Farokhmanesh, Megan (July 24, 2013). "Saints Row 4 Season Pass includes two mission packs, anal probe". Polygon. Vox Media. Archived from the original on March 30, 2015. Retrieved March 30, 2015.
Jump up ^ Patterson, Eric L. (November 1, 2013). "EGM Review: Saints Row IV: Enter the Dominatrix". Electronic Gaming Monthly. Archived from the original on June 14, 2014. Retrieved June 14, 2014.
Jump up ^ Patterson, Eric L. (November 1, 2013). "EGM Review: Saints Row IV: Enter the Dominatrix". Electronic Gaming Monthly. Archived from the original on May 18, 2014. Retrieved May 18, 2014.
Jump up ^ Good, Owen (July 22, 2013). "Saints Row's Canceled Expansion Resurrected as DLC". Kotaku. Gawker Media. Archived from the original on May 18, 2014. Retrieved May 18, 2014.
^ Jump up to: a b c Schilling, Chris (October 22, 2013). "Saints Row 4: Enter The Dominatrix review". Eurogamer. Gamer Network. Archived from the original on June 14, 2014. Retrieved June 14, 2014.
Jump up ^ Reparaz, Mikel (October 30, 2013). "Saints Row IV: Enter the Dominatrix review". Official Xbox Magazine. Future. Archived from the original on June 14, 2014. Retrieved June 14, 2014.
Jump up ^ Hinkle, David (December 11, 2013). "PSA: Saints Row 4 'How the Saints Save Christmas' DLC out now". Engadget. AOL Tech. Archived from the original on March 30, 2015. Retrieved March 30, 2015.
^ Jump up to: a b Tach, Dave (August 28, 2013). "Saints Row 4 sells more than 1 million copies, DLC announced". Polygon. Vox Media. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
^ Jump up to: a b Farokhmanesh, Megan (June 24, 2014). "Saints Row 4 National Treasure Edition coming July 8". Polygon. Vox Media. Archived from the original on March 6, 2015. Retrieved March 6, 2015.
Jump up ^ Sarkar, Samit (April 2, 2014). "Amazon lists re-releases of Saints Row 4, Dead Island: Riptide, more". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
Jump up ^ Witmer, David (October 15, 2014). "Saints Row: Gat Out of Hell and Re-Elected get new release dates and trailer". IGN. Ziff Davis. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ "Saints Row IV for PC". GameRankings. CBS Interactive. Retrieved August 14, 2013.
Jump up ^ "Saints Row IV for Xbox 360". GameRankings. CBS Interactive. Retrieved August 14, 2013.
Jump up ^ "Saints Row IV for PlayStation 3". GameRankings. CBS Interactive. Retrieved August 14, 2013.
^ Jump up to: a b "Saints Row IV for PC Reviews". Metacritic. CBS Interactive. Retrieved August 14, 2013.
^ Jump up to: a b "Saints Row IV for Xbox 360 Reviews". Metacritic. CBS Interactive. Retrieved August 14, 2013.
^ Jump up to: a b "Saints Row IV for PlayStation 3 Reviews". Metacritic. CBS Interactive. Retrieved August 14, 2013.
Jump up ^ "Saints Row IV: Re-Elected". Metacritic.
Jump up ^ "Saints Row IV: Re-Elected". Metacritic.
Jump up ^ Leibl, Matt (September 23, 2013). "Deep Silver: Saints Row 4 sales 'continue to be very strong'". GameZone. Archived from the original on March 15, 2015. Retrieved March 15, 2015.
Jump up ^ Ray, Alexa (June 30, 2014). "Check out this artist's real-life replica of Saints Row 4's Dubstep Gun". Polygon. Vox Media. Archived from the original on March 14, 2015. Retrieved March 14, 2015.
External links[edit]
Official website
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Truth or Dare (2018 film)
From Wikipedia, the free encyclopedia
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Truth or Dare
Theatrical release poster
Directed by
Jeff Wadlow
Produced by
Jason Blum
Screenplay by
Michael Reisz
Jillian Jacobs
Chris Roach
Jeff Wadlow
Story by
Michael Reisz
Starring
Lucy Hale
Tyler Posey
Violett Beane
Hayden Szeto
Sophia Taylor Ali
Landon Liboiron
Music by
Matthew Margeson
Cinematography
Jacques Jouffret
Edited by
Sean Albertson
Production
company
Blumhouse Productions
Distributed by
Universal Pictures
Release date
April 13, 2018 (2018-04-13)
Running time
100 minutes
Country
United States
Language
English
Budget
$3.5 million[1]
Box office
$82.4 million[2]
Blumhouse's Truth or Dare,[3] or simply Truth or Dare, is a 2018 American supernatural horror film directed by Jeff Wadlow and written by Michael Reisz, Jillian Jacobs, Chris Roach and Wadlow. It stars Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, and Landon Liboiron, and follows a group of college students who play a game of truth or dare? while on vacation in Mexico, only to realize it has deadly consequences if they don't follow through on their tasks. Jason Blum produced through his Blumhouse Productions banner, and Universal Pictures distributed the film.[4]
Released in theaters on April 13, 2018, the film received negative reviews from critics, who said it was "neither inventive nor scary enough to set itself apart from the decades of dreary slashers that came before it".[5] Despite this, the film was a massive box office success and grossed $82 million worldwide, over twenty-times its $3.5 million production budget.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Release
5 Reception
5.1 Box office
5.2 Critical response
6 References
7 External links
Plot[edit]
Olivia Barron, her best friend Markie Cameron, Markie's boyfriend Lucas Moreno, along with Penelope Amari and her boyfriend Tyson Curran, and Brad Chang go on a trip to Rosarito, Mexico. In Mexico, Olivia runs into fellow student Ronnie who proceeds to harass her until a man intervenes on her behalf. The man introduces himself as Carter and eventually convinces her and her friends to join him for drinks at the ruins of a mansion. There, Carter initiates a game of "Truth or Dare?" with Olivia and her friends, plus Ronnie, who followed the group. Eventually, the game ends when Carter reveals that he deceived Olivia as a means of tricking her and her friends to the mission to offer them in his place in the supernatural game of Truth or Dare. As Carter leaves, he explains to Olivia that the game will follow them and they must not refuse it.
Upon returning Olivia begins to see "Truth or Dare?" written in several places, initially believing it to be a prank. However, at the library she sees everyone asking her "Truth or Dare?" until she picks truth and is forced to say that Markie cheated on Lucas. Olivia realized that only she saw/heard the truth or dare challenge.
Later at a local college bar Ronnie dies when he fails to complete a dare. Olivia, having become convinced that Carter was telling the truth, gathers and attempts to convince her friends that the game is real. The game, playing in accordance to the order the group played in Mexico, turns to Markie, having already appeared to Olivia and Lucas, and she is forced to break Olivia's hand. At the hospital, Brad is then forced by the game into revealing to his father, Officer Han Chang, his homosexuality.
The next day, the skeptical Tyson lies when forced to tell a truth and, as a result, dies. A drunken Penelope is next forced by the game to drink and finish a full bottle of vodka whilst walking along the edge of the roof of a house. She eventually falls from the roof after finishing the bottle, but is saved by Brad, Markie, and Olivia. The group manage to come into contact with a woman named Giselle, who is also a participant in a separate incarnation of the game, and the group go to meet her.
Giselle reveals that she and her friends played the game and her friend Sam, the only other survivor of her incarnation of the game, was responsible for the game becoming reality in the first place, having wrecked the ruins of the mission. Giselle reveals that a truth can only be chosen twice before the next player is forced to choose dare. Giselle draws a handgun on Olivia and shoots, confessing that she was dared to kill her. However, Penelope jumps in front of Olivia and is shot and killed. Failing to kill Olivia, Giselle shoots herself in the head.
Olivia and Lucas drive to Tijuana and meet with a mute woman and former nun who operated out of the church in which they originally played the game. The woman informs them that they are dealing with a demon she first summoned, who possessed the game of Truth or Dare and can only be stopped if the last person who evoked it sacrifices their tongue into an urn and seals it with wax after an incantation is made in the church.
Later, following Olivia, Lucas, and Markie’s turns in the game, Brad is dared to withdraw his father's gun and make him beg for his life. However, in the act, Brad is shot and killed by an approaching officer. At the precinct, Olivia learns that Carter is Sam.
Olivia, Markie, and Lucas find Sam and force him at gunpoint back to the ruins of the church in Mexico. There, Sam begins the ritual and is about to sever his tongue when it becomes Lucas' turn to play the game. Lucas is dared to kill either Olivia or Markie, which he refuses. Possessed by the demon controlling the game, Lucas is forced to kill Sam, before the latter can complete the ritual to end the game. He then proceeds to slit his throat and die.
Olivia forces the demon to reveal to her whether or not there was a definitive way to end the game with Markie and herself alive. The demon reveals that now that Sam is dead, there is not - but they can draw more people into the game and prolong their turn in it. Olivia hastily records and uploads a video to YouTube, warning of the game and its rules, before challenging the viewers around the world to Truth or Dare, initiating them.
Cast[edit]
Lucy Hale as Olivia Barron
Tyler Posey as Lucas Moreno
Violett Beane as Markie Cameron
Hayden Szeto as Brad Chang
Landon Liboiron as Carter / Sam
Nolan Gerard Funk as Tyson Curran
Sophia Ali as Penelope Amari
Sam Lerner as Ronnie
Aurora Perrineau as Giselle Hammond
Tom Choi as Officer Han Chang
Gary Anthony Williams as the voice of Calax, the demonic entity controlling the game.
Production[edit]
Initially, director Jeff Wadlow explained that he was hired to direct the film after spitballing an opening scene based on the title of the movie in his initial meetings with Blumhouse.[6] Subsequently, he joined with his friend Chris Roach, and his wife, Jill Jacobs, and started thinking of ideas to approach the final concept.[7]
Principal photography on the film began on June 7, 2017,[8][9] and wrapped on July 12, 2017 in Los Angeles.[10][11]
Release[edit]
The film was initially set for release on April 27, 2018, but in January 2018, the date was moved up two weeks, to April 13, 2018, Friday the 13th.[12] The official trailer for the film was released on January 3, 2018.[13]
Reception[edit]
Box office[edit]
As of May 27, 2018[update], Truth or Dare has grossed $40.5 million in the United States and Canada, and $41.9 million in other territories, for a worldwide total of $82.4 million, against a production budget of $3.5 million.[2]
In the United States and Canada, Truth or Dare was released alongside the openings of Rampage and Sgt. Stubby: An American Hero, as well as the wide expansion of Isle of Dogs, and was projected to gross $12–15 million from 3,029 theaters in its opening weekend.[14] The film made $8.2 million on its first day (including $750,000 from Thursday night previews), $6.8 million on Saturday and a total of $19.1 million over the weekend, finishing third behind Rampage ($34.5 million) and fellow horror film A Quiet Place ($32.6 million).[15] It fell 58% in its second weekend (slightly above-average for Blumhouse horror films), grossing $7.8 million and finishing fifth.[16] The film continued to hold well in its third weekend, dropping 58% again to $3.2 million, finishing seventh.[17]
Critical response[edit]
On review aggregator website Rotten Tomatoes, the film holds an approval rating of 14% based on 127 reviews, and an average rating of 3.6/10. The website's critical consensus reads, "Truth or Dare's slick presentation isn't enough to make this mediocre horror outing much more frightening than an average round of the real-life game."[18] On Metacritic, the film has a weighted average score of 35 out of 100, based on 33 critics, indicating "generally unfavorable reviews."[19] Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.[15]
Simon Abrams of RogerEbert.com gave the film 2/4 stars and wrote that "director Jeff Wadlow and his three credited co-writers don't go far enough towards either of their film's primary impulses—humanizing their immature subjects and/or making them die amusingly sadistic deaths."[20] Exclaim!'s Alex Hudson called the film a "by-the-numbers horror that delivers clichés rather than surprises," though added "as dumb as this movie was, I kind of enjoyed it."[21]
Variety's Owen Gleiberman called it a "scare-free horror film" and wrote, "The movie isn’t scary, it isn’t gripping, it isn’t fun, and it isn’t fueled by any sort of clever compulsion. It’s just a strangely arduous exercise that feels increasingly frantic and arbitrary as it goes along."[22]
References[edit]
Jump up ^ Fuster, Jeremy (April 10, 2018). "'Rampage' Stomps Into Theaters in Need of Big Overseas Launch". TheWrap. Retrieved April 11, 2018.
^ Jump up to: a b "Truth or Dare (2018)". Box Office Mojo. Retrieved May 27, 2018.
Jump up ^ Mendelson, Scott (January 3, 2018). "Blumhouse Claims Ownership Over Lucy Hale's 'Truth Or Dare'". Forbes. Retrieved April 19, 2018.
Jump up ^ Kroll, Justin (March 16, 2017). "'Pretty Little Liars' Star Lucy Hale Joins Blumhouse's 'Truth or Dare'". Variety. Penske Business Media. Retrieved May 25, 2017.
Jump up ^ Giles, Jeff (April 12, 2018). "Rampage Is Exactly What You Think It Is". Rotten Tomatoes. Fandango Media. Retrieved April 16, 2018.
Jump up ^ Schwerdtfeger, Conner (April 11, 2018). "The Bizarre Way Truth Or Dare's Director Pitched The Movie". CinemaBlend. GatewayBlend Entertainment. Retrieved April 11, 2018.
Jump up ^ Deckelmeier, Joe (April 11, 2018). "Jeff Wadlow Interview: Truth or Dare". Screen Rant. Retrieved April 12, 2018.
Jump up ^ Miska, Brad (May 24, 2017). "Full Cast Prepares For a Game of 'Truth or Dare'". Bloody Disgusting. Retrieved May 25, 2017.
Jump up ^ Wadlow, Jeff (June 7, 2017). "First day of photography! Lucky shirt: check 🍀 @lucyhale @tylerposey58 @nolanfunk @haydenszeto @sophiatali". Instagram. Retrieved April 16, 2018.
Jump up ^ Hale, Lucy [@lucyhale] (July 12, 2017). "THAT IS A MF WRAP ON TRUTH OR DARE 🎥 thanks for the memories guys ! Can't wait for y'all to see this" (Tweet). Retrieved April 12, 2018 – via Twitter.
Jump up ^ Highfill, Samantha (April 12, 2018). "Truth or Dare stars Tyler Posey, Lucy Hale share their spring break stories". Entertainment Weekly. Retrieved April 15, 2018.
Jump up ^ D'Alessandro, Anthony (January 11, 2018). "Blumhouse's Truth Or Dare' Moves Up Two Weeks To Friday The 13th – Update". Deadline Hollywood. Penske Business Media. Retrieved January 11, 2018.
Jump up ^ KimmiKillZombie (January 3, 2018). "[Trailer] Death Plays Games in TRUTH OR DARE". Nightmare on Film Street. Retrieved January 10, 2018.
Jump up ^ Faughnder, Ryan (April 11, 2018). "Rampage' is poised for top box-office spot as Dwayne Johnson fights video game movie curse". Los Angeles Times. Retrieved April 11, 2018.
^ Jump up to: a b D'Alessandro, Anthony (April 15, 2018). "The Rock Rebounds: 'Rampage' Shushes 'A Quiet Place' With $34M+ No. 1 Opening". Deadline Hollywood. Penske Business Media. Retrieved April 15, 2018.
Jump up ^ Busch, Anita; D'Alessandro, Anthony (April 22, 2018). "'A Quiet Place' Still Noisy With $21.7M As 'Rampage' Beats Chest, 'Super Trooper 2' Surprises – Sunday AM Update". Deadline Hollywood. Penske Business Media. Retrieved April 22, 2018.
Jump up ^ D'Alessandro, Anthony (April 29, 2018). "'Avengers: Infinity War' Conquering 'Force Awakens' With Record $248M-$250M Opening; Posts Record $82M Saturday". Deadline Hollywood. Retrieved April 29, 2018.
Jump up ^ "Blumhouse's Truth or Dare (2018)". Rotten Tomatoes. Fandango Media. Retrieved April 23, 2018.
Jump up ^ "Truth or Dare Reviews". Metacritic. CBS Interactive. Retrieved April 17, 2018.
Jump up ^ Abrams, Simon (April 13, 2018). "Truth or Dare". RogerEbert.com. Ebert Digital LLC. Retrieved April 13, 2018.
Jump up ^ Hudson, Alex (April 11, 2018). "Review: 'Truth or Dare'". Exclaim!. Retrieved April 11, 2018.
Jump up ^ Gleiberman, Owen (April 11, 2018). "Review: 'Truth or Dare'". Variety. Penske Business Media. Retrieved April 11, 2018.
External links[edit]
Official website
Truth or Dare on IMDb
[hide]
v
t
e
Films directed by Jeff Wadlow
Cry Wolf (2005)
Never Back Down (2008)
Kick-Ass 2 (2013)
True Memoirs of an International Assassin (2016)
Truth or Dare (2018)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Truth_or_Dare_(2018_film)&oldid=843611549"
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Demons in film
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values: جرئت یا حقیقت (فیلم) – Persian

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values: トゥルース・オア・デア – Japanese

values: Правда или действие – Russian

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