title: Scar

text: The myofibroblasts make up a high proportion of the fibroblasts proliferating in the postembryonic wound at the onset of healing. In the rat model, for instance, myofibroblasts can constitute up to 70% of the fibroblasts, and is responsible for fibrosis on tissue. Generally, the myofibroblasts disappear from the wound within 30 days, but can remain in pathological cases in hypertrophy, such as keloids. Myofibroblasts have plasticity and in mice can be transformed into fat cells, instead of scar tissue, via the regeneration of hair follicles.


title: Scar

text: Wounds under 2mm generally do not scar but larger wounds generally do scar. In 2011 it was found that mechanical stress can stimulate scarring and that stress shielding can reduce scarring in wounds. In 2021 it was found that using chemicals to manipulate fibroblasts to not sense mechanical stress brought scar-free healing. The scar-free healing also occurred when mechanical stress was placed onto a wound.


title: Scar

text: Early and effective treatment of acne scarring can prevent severe acne and the scarring that often follows. In 2004, no prescription drugs for the treatment or prevention of scars were available.


title: Scar

text: Chemical peels are chemicals which destroy the epidermis in a controlled manner, leading to exfoliation and the alleviation of certain skin conditions, including superficial acne scars. Various chemicals can be used depending upon the depth of the peel, and caution should be used, particularly for dark-skinned individuals and those individuals susceptible to keloid formation or with active infections.


title: Scar

text: Filler injections of collagen can be used to raise atrophic scars to the level of surrounding skin. Risks vary based upon the filler used, and can include further disfigurement and allergic reaction.


title: Scar

text: Nonablative lasers, such as the 585 nm pulsed dye laser, 1064 nm and 1320 nm , or the 1540 nm are used as laser therapy for hypertrophic scars and keloids. There is tentative evidence for burn scars that they improve the appearance.


title: Scar

text: Ablative lasers such as the carbon dioxide laser (CO) or offer the best results for atrophic and acne scars. Like dermabrasion, ablative lasers work by removing the epidermis. Healing times for ablative therapy are much longer and the risk profile is greater compared to nonablative therapy; however, nonablative therapy offers only minor improvements in cosmetic appearance of atrophic and acne scars.


title: Scar

text: Combination laser therapy and microneedling may offer superior results to single modality treatment. The biggest recent advance in scar management is the use of fractionated CO laser and immediate application of topical steroid Triamcinolone.


title: Scar

text: Low-dose, superficial radiotherapy is sometimes used to prevent recurrence of severe keloid and hypertrophic scarring. It is thought to be effective despite a lack of clinical trials, but only used in extreme cases due to the perceived risk of long-term side effects.


title: Scar

text: Silicone scar treatments are commonly used in preventing scar formation and improving existing scar appearance. A meta-study by the Cochrane collaboration found weak evidence that silicone gel sheeting helps prevent scarring. However, the studies examining it were of poor quality and susceptible to bias.


title: Scar

text: Pressure dressings are commonly used in managing burn and hypertrophic scars, although supporting evidence is lacking. Care providers commonly report improvements, however, and pressure therapy has been effective in treating ear keloids. The general acceptance of the treatment as effective may prevent it from being further studied in clinical trials.


title: Scar

text: Verapamil, a type of calcium channel blocker, is considered a candidate drug for the treatment of hypertrophic scars. A study conducted by the catholic university of Korea concluded that verapamil‐releasing silicone gel is effective and is a superior alternative to the conventional silicone gel where decreased median SEI, fibroblast count, and collagen density in all verapamil‐added treatment groups were observed Gross morphologic features suggested that the combination of verapamil and silicone improves the overall quality of hypertrophic scars by reducing scar height and redness. This was verified with quantifiable histomorphometric parameters. but Oral verapamil is not a good choice because of its effect of lowering blood pressure. Intralesional injection of verapamil is also suboptimal because of the required frequency for injections. Topical silicone gel combined with verapamil does not lead to systemic hypotension, is convenient to apply, and shows enhanced results.


title: Scar

text: A long-term course of corticosteroid injections into the scar may help flatten and soften the appearance of keloid or hypertrophic scars.


title: Scar

text: Topical steroids are ineffective. However, clobetasol propionate can be used as an alternative treatment for keloid scars.


title: Scar

text: Topical steroid applied immediately after fractionated CO2 laser treatment is however very effective (and more efficacious than laser treatment alone) and has shown benefit in numerous clinical studies.


title: Scar

text: Scar revision is a process of cutting the scar tissue out. After the excision, the new wound is usually closed up to heal by primary intention, instead of secondary intention. Deeper cuts need a multilayered closure to heal optimally, otherwise depressed or dented scars can result.


title: Scar

text: Surgical excision of hypertrophic or keloid scars is often associated to other methods, such as pressotherapy or silicone gel sheeting. Lone excision of keloid scars, however, shows a recurrence rate close to 45%. A clinical study is currently ongoing to assess the benefits of a treatment combining surgery and laser-assisted healing in hypertrophic or keloid scars.


title: Scar

text: "Subcision" is a process used to treat deep rolling scars left behind by acne or other skin diseases. It is also used to lessen the appearance of severe glabella lines, though its effectiveness in this application is debatable. Essentially the process involves separating the skin tissue in the affected area from the deeper scar tissue. This allows the blood to pool under the affected area, eventually causing the deep rolling scar to level off with the rest of the skin area. Once the skin has leveled, treatments such as laser resurfacing, microdermabrasion or chemical peels can be used to smooth out the scarred tissue.


title: Scar

text: Research shows the use of vitamin E and onion extract (sold as Mederma) as treatments for scars is ineffective. Vitamin E causes contact dermatitis in up to 33% of users and in some cases it may worsen scar appearance and could cause minor skin irritations, but Vitamin C and some of its esters fade the dark pigment associated with some scars.


title: Scar

text: The permanence of scarring has led to its intentional use as a form of body art within some cultures and subcultures. These forms of ritual and non-ritual scarring practices can be found in many groups and cultures around the world.


title: Scar

text: First attested in English in the late 14th century, the word "scar" derives from a conflation of Old French "escharre", from Late Latin "eschara", which is the latinisation of the Greek ἐσχάρα ("eskhara"), meaning "hearth, fireplace", but in medicine "scab, eschar on a wound caused by burning or otherwise", and Middle English "skar" ("cut, crack, incision"), which is from Old Norse "skarð" ("notch, gap"). The conflation helped to form the English meaning. Compare Scarborough for evolution of "skarð" to "scar".


title: Scar

text: Research, before 2009, focused on scar improvements with research in to molecular mechanisms. Molecular mechanisms such as: juvista, ribosomal s6 kinase (RSK), and osteopontin were investigated.


title: Scar

text: In 2011, the scientific literature highlighted stress shielding a fresh wound through the wound healing process, brings significant scar improvement and smaller scars.


title: Scar

text: By 2016, skin had been regenerated "in vivo", and "in vitro" and scar free healing had been operationalized and induced by four main techniques: regeneration by instrument; regeneration by materials; regeneration by drugs; and regeneration by "in vitro" 3-D printing. In 2018, a silk-derived sericin hydrogel dressing was undergoing research, the material was shown to prevent scar formation.


title: Ruby chocolate

text: Ruby chocolate is a variety of chocolate introduced in 2017 by Barry Callebaut, a Belgian–Swiss cocoa company. In development since 2004, it was patented in 2015 by inventors Dumarche et al. and assigned to Barry Callebaut under patent number US9107430B2. It was unveiled at a private event in Shanghai on 5 September 2017. It is marketed as the fourth type of chocolate alongside dark, milk, and white chocolate varieties and has a pink color.


title: Ruby chocolate

text: The chocolate is characterized by a taste that has been described as slightly sweet and sour, which is comparable to that of berries, as the chocolate's main characteristic is its acidity. In a comparison of the phenolic content between varieties of chocolate, ruby chocolate was rated between milk and white chocolate. According to standards set by the Food and Drug Administration in the United States ruby chocolate must contain a minimum of 1.5% nonfat cacao solids and a minimum of 20% by weight of cacao fat. It may contain antioxidants, spices, and other natural and artificial flavorings; however, these ingredients cannot mimic the flavors of chocolate, milk, butter, or a fruit, and it cannot contain additional colouring.


title: Ruby chocolate

text: The chocolate is made from "ruby cocoa beans". These are existing botanical cocoa bean varieties that have been identified as having the right attributes to be processed into ruby chocolate. While the exact production method is a trade secret, publications note industry speculation is that ruby chocolate is made with unfermented cocoa beans of Brazil Lavados, which can have a natural red-pink colour. Barry Callebaut registered a patent in 2009 for "cocoa-derived material" from unfermented cocoa beans (or beans fermented for no more than three days) that become red or purple after treating them with an acid, such as citric acid, and then defatting with petroleum ether or probably with CO.


title: Ruby chocolate

text: It has been debated by chocolate experts whether ruby chocolate constitutes a new variety of chocolate or if it is a marketing strategy. Chocolate expert Clay Gordon stated that ruby chocolate could become as diverse as white chocolate. Kennedy's Confection magazine editor Angus Kennedy disputes that ruby chocolate is a new fourth variety and compared the taste to a combination of white chocolate and raspberries. The public interest of the chocolate variety has been linked to the popularity of the color pink in marketing and on social media in the 2010s, a phenomenon that is referred to as "millennial pink".


title: Ruby chocolate

text: The first mass market release of a ruby chocolate product was on 19 January 2018, when it was introduced as a coating for a new Kit Kat wafer bar in Japan and South Korea. Nestlé, the manufacturers of Kit Kat, entered into an agreement with Barry Callebaut for exclusive use of the product for six months. Upon release in Japan, one bar cost 400 yen (USD$3.60). In April 2018, Fortnum & Mason launched a pure ruby chocolate bar in the United Kingdom followed by Nestlé who announced the release of the ruby chocolate Kit Kat in the United Kingdom and Germany. In anticipation for Mother's Day in 2019, Kit Kat Canada announced the release of the ruby chocolate in Canada in a tweet.


title: Barbara Rush

text: Barbara Rush (born January 4, 1927) is an American actress. In 1954, Rush won the Golden Globe Award as most promising female newcomer for her role in the 1953 American science-fiction film "It Came from Outer Space". Later in her career, Rush became a regular performer in the television series "Peyton Place", and appeared in TV movies, miniseries, and a variety of other programs, including the soap opera "All My Children" and family drama "7th Heaven", as well as starring in films, including "The Young Philadelphians", "The Young Lions", "Robin and the 7 Hoods", and "Hombre".


title: Barbara Rush

text: Rush was born in Denver. Her father, Roy, was a lawyer for a Midwest mining company. She grew up in Santa Barbara, California. She attended the University of California, Santa Barbara and graduated in 1948. She started her career in the university's theatre program.


title: Barbara Rush

text: Rush performed on stage at the Pasadena Playhouse before signing with Paramount Pictures. She made her screen debut in 1950's "The Goldbergs". In 1951, she co-starred in the classic George Pal sci-fi film "When Worlds Collide". In 1952, she starred in "Flaming Feather" with Sterling Hayden and Victor Jory. In 1954, she won the Golden Globe Award for "Most Promising Newcomer – Female" for her performance in "It Came from Outer Space".


title: Barbara Rush

text: Rush starred as the wife of James Mason in the acclaimed 1956 drama "Bigger Than Life", in which a school teacher's use of an experimental drug results in his threatening harm to his family. She was the love interest of reluctant soldier Dean Martin in the war story "The Young Lions" and of ambitious lawyer Paul Newman in "The Young Philadelphians".


title: Barbara Rush

text: Rush began her career on stage, and it has always been a part of her professional life. In 1970, she earned the Sarah Siddons Award for dramatic achievement in Chicago theatre for her leading role in "Forty Carats" and brought her one-woman play "A Woman of Independent Means" to Broadway in 1984. She began working on television in the 1950s. She later became a regular performer in TV movies, miniseries, and a variety of other shows including "Peyton Place" and the soap opera "All My Children".


title: Barbara Rush

text: In 1962, she guest-starred as Linda Kinkcaid in the episode "Make Me a Place" on "The Eleventh Hour" starring Wendell Corey and Jack Ging. In 1962–1963, she appeared three times as Lizzie Hogan on "Saints and Sinners". In 1965, she appeared in a two-part episode of "The Fugitive" titled "Landscape with Running Figures" as Marie Gérard, wife of police detective Lt. Philip Gérard. 1967, she guest-starred on the series "Custer".


title: Barbara Rush

text: She often played a willful woman of means or a polished, high-society doyenne. Rush also was cast in an occasional villainess role, as in the Rat Pack's gangster musical "Robin and the 7 Hoods" (1964). In the 1967 Western drama "Hombre", she played a rich, younger, condescending wife of a thief - and ends up taken hostage and tied to a stake. She portrayed the devious Nora Clavicle in the TV series "Batman". In 1976, Rush played the role of Ann Sommers/Chris Stewart, the mother of female sci-fi action character Jaime Sommers in "The Bionic Woman".


title: Barbara Rush

text: After appearing in the 1980 disco-themed "Can't Stop the Music", Rush returned to television work. She was a cast member on the early 1980s soap opera "Flamingo Road" as Eudora Weldon. In 1998, she was featured in an episode titled "Balance of Nature" on the television series "The Outer Limits". In 1989, Rush toured on stage in the national company of "Steel Magnolias" as the character M'Lynn. She has continued to make guest appearances on television. In 2007, she played the recurring role of Grandma Ruth Camden on the series "7th Heaven".


title: Barbara Rush

text: Rush married actor Jeffrey Hunter in 1950; they divorced in 1955. She married publicist Warren Cowan in 1959, but they divorced in 1969. Rush married sculptor Jim Gruzalski in 1970 after they met at an Engelbert Humperdinck concert. They divorced in 1973.


title: Barbara Rush

text: Rush has two children, Christopher Hunter (with Hunter) and Claudia Cowan (with Cowan). The latter is a journalist with Fox News. She is the aunt of actress Carolyn Hennesy.


title: Barbara Rush

text: In the 1975 film "Shampoo", the hairdresser to the stars, with a reputation of sleeping with his clients George Roundy is portrayed by Warren Beatty. When seeking a bank loan, he is asked if he has any references, to which he replies “I do Barbara Rush.”


title: Presumed Innocent (film)

text: Presumed Innocent is a 1990 American legal thriller film based on the 1987 novel of the same name by Scott Turow. Directed by Alan J. Pakula, and written by Pakula and Frank Pierson, it stars Harrison Ford, Brian Dennehy, Raúl Juliá, Bonnie Bedelia, Paul Winfield and Greta Scacchi. The film follows Rusty Sabich (Ford), a prosecutor who is charged with the murder of his colleague and mistress Carolyn Polhemus (Scacchi).


title: Presumed Innocent (film)

text: Several studios and producers fought to secure the film rights one year before the novel was published. Producers Sydney Pollack and Mark Rosenberg acquired the rights in December 1986, and hired Pierson to write the script. After an unsuccessful pre-production development at United Artists, the project moved to Warner Bros., and Pakula was brought in to rewrite the script with Pierson before signing on as the film's director in January 1989. Principal photography commenced in July 1989 and concluded in October of that year, with a budget of $20 million. Filming took place on locations in Detroit, Windsor, Ontario, and New Jersey, and on soundstages at Kaufman Astoria Studios in New York.


title: Presumed Innocent (film)

text: "Presumed Innocent" premiered at the Fox Bruin Theater in Los Angeles, California on July 25, 1990, before being released in North America on July 27, 1990. The film has an approval rating of 86% at Rotten Tomatoes, with critics praising its directing, acting, and writing. It grossed $221 million worldwide, and became the eighth-highest-grossing film of 1990. The film was followed by a television miniseries, "The Burden of Proof", in 1992, and a television film sequel, "Innocent", in 2011.


title: Presumed Innocent (film)

text: Rozat "Rusty" Sabich is a prosecutor and the right-hand man of district attorney Raymond Horgan. When his colleague Carolyn Polhemus is found raped and murdered in her apartment, Raymond insists that Rusty take charge of the investigation. With the election for District Attorney approaching, Tommy Molto, the acting head of the homicide division, has left to join the rival campaign of Nico Della Guardia. Rusty, a married man, faces a conflict of interest since he had a brief sexual affair with Carolyn. As he had shown little ambition and would have therefore been of little use in advancing her career, Carolyn abruptly dumped him. Rusty has since reconciled with his wife Barbara, but is still obsessed with Carolyn.


title: Presumed Innocent (film)

text: Detective Harold Greer is initially in charge of the murder investigation, but Rusty has him replaced with his friend Detective Dan Lipranzer, whom he persuades to narrow the inquiry so that his relationship with Carolyn is left out. Raymond grows furious with Rusty's handling of the case, but admits that he had also been romantically involved with Carolyn at one time. Rusty soon discovers that Molto is making his own inquiries. Aspects of the crime suggest that the killer knew police evidence-gathering procedures and covered up clues accordingly. Semen found in the victim's body contains only dead sperm. The killer's blood is type A, the same as Rusty's. When Della Guardia wins the election, he and Molto accuse Rusty of the murder and push to get evidence against him. Rusty's fingerprints are found on a beer glass from Carolyn's apartment, and fibers from his carpet at home match those found on her body. Lipranzer is removed from the case, and Greer's inquiries uncover the affair.


title: Presumed Innocent (film)

text: Rusty calls on Sandy Stern, a top defense attorney. At trial, it is revealed that the beer glass is missing, and Stern persuades Judge Larren Lyttle to keep this from the jury. Raymond testifies and perjures himself, claiming that Rusty insisted on handling the investigation, thus confirming the defense's claim of a frame-up. Rusty discovers that Carolyn had acquired a file for a bribery case involving a man named Leon Wells. Upon being confronted by Rusty and Lipranzer, Wells confesses that he paid Judge Lyttle $1,500 to have criminal charges against him dropped, with Carolyn acting as a facilitator.


title: Presumed Innocent (film)

text: The thrust of Stern's defense is that Della Guardia and Molto have framed Rusty in order to cover up the bribery case. During the cross-examination of the coroner, it is revealed that Carolyn underwent a tubal ligation, thus having no reason to use the spermicidal contraceptive which was found on her. Stern asserts that the only explanation for this discrepancy is that the fluid sample was not actually taken from Carolyn's body. Based on the disappearance of the beer glass, the lack of motive and the fact that the fluid sample was rendered meaningless, Judge Lyttle dismisses the charges. Rusty confronts Stern for bringing up the bribery file in the case. Stern swears him to secrecy, revealing that Lyttle had a brief sexual encounter with Carolyn. Stern also confesses that he and Raymond knew that Lyttle was taking bribes, and although Lyttle had offered his resignation, Raymond felt that he was a brilliant judge and deserved another chance. Lipranzer meets with Rusty and reveals the missing beer glass, explaining that he never returned it to evidence when the investigation was turned over to Della Guardia and Molto. Rusty throws it into a river.


title: Presumed Innocent (film)

text: At his home, Rusty discovers a small hatchet covered with Carolyn's blood and hair on it. As he washes the tool, Barbara admits that she murdered Carolyn, her motive being Rusty's adulterous affair. She expresses that she had left enough evidence for Rusty to know that she committed the crime, but did not anticipate him being charged with the murder. In a voice-over, Rusty explains that Carolyn's murder has been written off as unsolved, since trying two people for the same crime is "a practical impossibility" and he cannot leave his son without a mother even if she could be tried. Rusty regrets that it was his own lust that caused his wife to commit murder.


title: Presumed Innocent (film)

text: "Presumed Innocent" is a "preunion" for the television series "The West Wing". John Spencer, Bradley Whitford and Jesse Bradford would go on to star together in that series.


title: Presumed Innocent (film)

text: Scott Turow's 1987 novel "Presumed Innocent" had first attracted film producers a year before it was published. The film rights were the subject of a bidding war among a host of established studios and producers. David Brown and Richard D. Zanuck made the first bid of $75,000. Don Simpson and Jerry Bruckheimer initially offered $300,000, financed by Paramount Pictures, but backed down when bids climbed to $750,000. Peter Guber and Jon Peters, and Sydney Pollack and Mark Rosenberg of Mirage Enterprises made $1 million bids of their own money. Metro-Goldwyn-Mayer and Irwin Winkler also made bids, while Universal Pictures passed on the project. After Pollack and Rosenberg acquired the rights in December 1986, United Artists negotiated with the producers to finance and distribute the film. In May 1987, Pollack hired Frank Pierson to write the script. Shortly after, United Artists backed out as a distributor. Roger Birnbaum, head of worldwide production for United Artists, claimed that the studio found the project "just too expensive". In July 1988, the project moved to Warner Bros.


title: Presumed Innocent (film)

text: Pollack and Rosenberg sent the script to Alan J. Pakula, who felt that it needed improvement and spent a year rewriting it with Pierson. Regarding the screenwriting process, Turow said, "There were three large narrative problems to solve. Point of view; getting around the first person narrative; time sequence; it's all flashback and Hollywood doesn't like that; and then just an awful lot of plot." Pierson originally envisioned the film adaptation as being "a movie full of sex and blood". Pakula felt that the concept of justice was more central to the story. He also wanted to present the film in a visual style that echoed the novel's narrative. In making various changes from the novel, Pakula and Pierson added new dialogue and rewrote the ending. Pakula signed on to direct the film in January 1989.


title: Presumed Innocent (film)

text: Several established actors were considered for the leading role of Rusty Sabich. Kevin Costner turned down the role, and Robert Redford was vetoed by Pollack due to his age. When he was hired to direct the film, Pakula only offered the role to Harrison Ford, believing that the actor possessed an "Everyman quality" that best suited the character. Ford's casting was confirmed in March 1989. He received a $7 million salary for the role. Turow was initially uncertain of Ford portraying Rusty but relented after seeing a few of the actor's films. Ford said, "Friends warned me this was a tough role because Rusty is such a passive, interior character. Though Rusty's in every scene, all the action takes place around him. Things happen to him." Upon being cast, Ford read the novel to avoid arguments over events and details that were left out in the book. Ford also suggested to Pakula that Rusty have a buzz cut. He explained, "There are many things I found I could express with that short haircut. Simplest of all, I wanted to tell the audience to leave their baggage at home — not to expect the Harrison Ford they've seen before."


title: Presumed Innocent (film)

text: In preparing for their roles, the actors were granted access to lawyers who would act as advisors. Ford observed murder trials with Pakula at the Recorder's Court in Detroit and viewed training footage from the Michigan Prosecutors' Association. Greta Scacchi, who plays Carolyn Polhemus, observed Linda Fairstein, head of the Manhattan District Attorney's sex crimes unit. Raúl Juliá, who plays Sandy Stern, researched his role by meeting with criminal lawyer Michael Kennedy. Paul Winfield lobbied for the role of Judge Larren Lyttle upon reading the novel and learning that the adaptation was to be directed by Pakula. Winfield met with New York Supreme Court judge Bruce M. Wright, who insisted that he wear a judiciary robe and observe several cases.


title: Presumed Innocent (film)

text: Pakula spent three weeks rehearsing with the actors before principal photography commenced on July 31, 1989 with a budget of $20 million. Filming began in Detroit, where the production first filmed exterior scenes. Locations included the Renaissance Center's Westin Hotel, Philip A. Hart Plaza, the Woodbridge Tavern, Eastern Market, Jackie's Bar and Restaurant, St. Aubin Marina, and the International Plaza garage rooftop. On August 3, 1989, the production moved to Reaume Park in Windsor, Ontario for a 13-hour shoot. After filming in Detroit ended on August 9, 1989, the production moved to Kaufman Astoria Studios in Queens, New York. The filmmakers constructed a courtroom modeled after one in Cleveland, Ohio that was unavailable for filming. The production then moved to Newark. For two days, the North Reformed Church was used to depict the funeral of Carolyn Polhemus. From August 14 to August 15, the filmmakers shot scenes at Newark City Hall. The Essex County Courthouse was used for a brief courtroom sequence, and Newark's city morgue was used to depict the medical office of Dr. Kumagai. A housing project scheduled for demolition was used for a scene depicting Rusty and Detective Lipranzer's interrogation of a suspect.


title: Presumed Innocent (film)

text: In late August, the crew relocated to Allendale, New Jersey. A suburban house on East Orchard Street was used to film exterior and interior scenes set in the Sabich family home. The house's cellar was used to film a scene involving Rusty and his wife. The cast and crew then returned to Kaufman Astoria Studios to film the trial scenes. Principal photography concluded on October 24, 1989.


title: Presumed Innocent (film)

text: "Presumed Innocent" held its world premiere at the Fox Bruin Theater in Los Angeles, California on July 25, 1990, with an afterparty held at Chasen's restaurant. The film was released on July 27, 1990, distributed by Warner Bros. A soundtrack album featuring the score by John Williams was released by the record label Varèse Sarabande on August 7, 1990.


title: Presumed Innocent (film)

text: Released to a total of 1,349 theaters in the United States and Canada, the film grossed $11,718,981 on its first weekend, securing the number one position at the box office. It saw a significant drop in attendance during its second weekend of release. The film earned an additional $10,176,663—a 13.2% overall decrease from the previous weekend— and moved to second place behind "Ghost". In its third weekend, the film grossed an additional $7,901,866, for an overall domestic gross of $42,012,238. It grossed an additional $6,101,374 on its fourth weekend. The film returned to fourth place on its fifth week, grossing an additional $4,646,004, and returned to third place for the following two weeks.


title: Presumed Innocent (film)

text: "Presumed Innocent" grossed $86,303,188 during its North American theatrical run. Coupled with its international take of $135 million, it accumulated $221,303,188 in worldwide box office totals. In North America, it was the twelfth highest-grossing film of 1990, and the fourth highest-grossing R-rated film released that year. Worldwide, it was the eighth highest-grossing film of 1990, as well as Warner Bros.' highest-grossing film that year.


title: Presumed Innocent (film)

text: The film was released on VHS and LaserDisc on March 27, 1991, by Warner Home Video. It was released on DVD on December 17, 1997. On February 23, 2010, the film was released on Blu-ray as a "Thriller Double Feature" alongside "Frantic" (1988).


title: Presumed Innocent (film)

text: The review aggregation website Rotten Tomatoes gives the film an approval rating of 86% based on 56 reviews, with an average rating of 7.30/10. The website's critical consensus reads, "Thanks to an outstanding script, focused direction by Alan Pakula, and a riveting performance from Harrison Ford, "Presumed Innocent" is the kind of effective courtroom thriller most others aspire to be." On Metacritic it has a score of 72% based on reviews from 26 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


title: Presumed Innocent (film)

text: Warner Bros. requested in press releases that critics not discuss the film's ending. Jay Boyar of the "Orlando Sentinel" surmised, "It's not that Warner Bros. is actually concerned that reviewers will tip the solution to the murder mystery. It's that the studio wants to further the impression that the movie is full of surprises." Richard Schickel of "Time" magazine disregarded the request and revealed Rusty's innocence in his review. He wrote, "Carolyn's murderer has an excellent motive both for killing her... But it is hard to accept the possibility that the real perpetrator would leave his escape from the trap entirely to chance." Roger Ebert of the "Chicago Sun-Times" stated, "Even if you think you know what the solution is, the performances are so clever and the screenplay ... is so subtle that it could well turn out that your expectations are wrong."


title: Presumed Innocent (film)

text: Sheila Benson, writing for the "Los Angeles Times", stated, "Intelligent, complex and enthralling, "Presumed Innocent" ... is one of those rare films where all the players seem to be in a state of grace, where the working of the machinery never shows and after it's over, one runs and reruns its intricacies with a profound sense of satisfaction." Peter Travers, writing for "Rolling Stone", called the film "a smart, passionate, steadily engrossing thriller". Janet Maslin of "The New York Times" praised Pakula's direction, writing, "Pakula has directed an intense, enveloping, gratifyingly thorough screen adaptation of Mr. Turow's story." Film critic Jonathan Rosenbaum wrote that film was "a top-notch courtroom drama that will keep you guessing if you haven't read the book; even if you have, it is still a very well crafted story." "Variety" magazine praised the performances, writing, "Ford, in a very mature, subtle, lowkey performance, pulls off the difficult feat of making it impossible to be sure. Bedelia is wondrously controlled, and Scacchi, sans any hint of a European accent, is convincing and seductive." Gene Siskel of the "Chicago Tribune" praised the supporting cast, writing, "Raul Julia is excellent as Ford's sinister defense attorney. John Spencer, Joe Grifasi, Tom Mardirosian and Sab Shimono are each compelling as investigator, political lackey, prosecutor and coroner."


title: Presumed Innocent (film)

text: Owen Gleiberman, writing for "Entertainment Weekly", criticized Pakula's direction, stating, "Pakula is good at laying out an intricate, almost mathematical series of events (his best film remains "All the President's Men"), but he's not big on atmosphere. The movie could have used some of the bowels-of-the-city grit Sidney Lumet brought to "Q&A"." Dave Kehr, also writing for the "Chicago Tribune", stated, "Though it's a handsome film, carefully staged and courageously low-key, the transition to the screen only exaggerates the disposable nature of the material while depriving it of the novel's one stylistic strength, its unreliable narrator."


title: Presumed Innocent (film)

text: "Presumed Innocent" received several nominations, with particular recognition for its screenplay by Alan J. Pakula and Frank Pierson. The film received an Edgar Allan Poe Award nomination for Best Motion Picture, and a USC Scripter Award nomination for Pakula, Pierson and the novel by Turow.


title: Presumed Innocent (film)

text: "Presumed Innocent" was followed by a two-part television miniseries, "The Burden of Proof" (1992). Based on Turow's 1990 novel, the miniseries focuses on defense attorney Sandy Stern (played by Héctor Elizondo), who investigates his wife's past following her apparent suicide. "Presumed Innocent" co-star Brian Dennehy appeared in a separate role as Stern's brother-in-law. The first chapter of the miniseries aired on the ABC network on February 9, 1992, with the second part airing the following night on February 10.


title: Presumed Innocent (film)

text: A television sequel, "Innocent" (2011), was based on Turow's 2010 sequel novel to "Presumed Innocent". Set twenty years after the events of the 1990 film, the story follows Rusty Sabich (Bill Pullman), who is charged with the murder of his wife Barbara (Marcia Gay Harden). "Innocent" aired on TNT on November 30, 2011, as part of the network's "Mystery Movie Night", a collection of six made-for-television films based on best-selling novels.


title: Presumed Innocent (film)

text: On February 3, 2022, it was announced that Apple TV+ had ordered an eight-part limited series based on the film, which is being developed by David E. Kelley and J. J. Abrams, with Kelly serving as showrunner, executive producer and writer.


title: Presumed Innocent (film)

text: On December 7, 2022, it was announced that Jake Gyllenhaal will executive produce and star in the lead role of Rusty Sabich.


title: Abhimanyu Singh

text: Abhimanyu Singh (born 20 September 1974) is an Indian actor who works mainly in Hindi, Telugu, Tamil and Bhojpuri films.


title: Abhimanyu Singh

text: Singh made his debut with "Aks" (2001), directed by Rakeysh Omprakash Mehra. He got his first break with the role of Rananjay Singh in "Gulaal" (2009), directed by Anurag Kashyap. The role won him the 2010 Stardust Award for his breakthrough performance.


title: Abhimanyu Singh

text: He won praises for his role of Bukka Reddy in "Rakta Charitra" (2010), directed by Ram Gopal Varma. In his review in "The Times of India", Nikhat Kazmi compared his performance to that of Heath Ledger in "The Dark Knight" (2008), which outshone the lead star.


title: Abhimanyu Singh

text: He also received positive reviews for Onir's "I Am" with Rajeev Masand praising his "brazen, unflinching performance" as a corrupt police officer.


title: Abhimanyu Singh

text: Singh worked with Anil Sharma of "" fame's film "Genius" where he plays a CBI officer. Singh was also seen as the main antagonist opposite Sridevi in Boney Kapoor's "Mom", released on 7 July 2017. Singh acted in another Telugu film directed by B. Gopal's "Aradugula Bullettu" starring Gopichand and Nayantara, released on 9 June 2017. Apart from this, Singh was also seen in the Tamil film "Theeran Adhigaaram Ondru" as the main villain opposite Karthi and Rakul Preet Singh which was shot at Rajasthan and Chennai.


The 2022 United Nations Climate Change Conference or Conference of the Parties of the UNFCCC, more commonly referred to as COP27, was the 27th United Nations Climate Change conference, held from 6 November until 20 November 2022 in Sharm El Sheikh, Egypt. It took place under the presidency of Egyptian Minister of Foreign Affairs Sameh Shoukry, with more than 92 heads of state and an estimated 35,000 representatives, or delegates, of 190 countries attending. It was the first climate summit held in Africa since 2016.


title: 2022 United Nations Climate Change Conference

text: The conference has been held annually since the first UN climate agreement in 1992. It is used by governments to agree on policies to limit global temperature rises and adapt to impacts associated with climate change. The conference led to the first loss and damage fund being created.


text: Egypt was announced as the host of the conference following a successful bid launched in 2021. On 8 January 2022 the Minister of Environment of Egypt, Yasmine Fouad, met with COP26 President Alok Sharma to discuss preparations for the conference. The Egyptian organizers advised countries to set aside tensions over the 2022 Russian invasion of Ukraine to ensure negotiations are successful.


text: Possible climate change measures were discussed at the 2022 United Nations General Assembly, including the governments of several island nations launching the Rising Nations initiative, and Denmark and Scotland announcing climate finance measures for developing countries. On 14 October 2022, the Scottish government called for climate reparations at COP27, as a "moral responsibility". At a pre-COP meeting in October 2022, UN Secretary-General António Guterres emphasized the importance of the conference given the impacts of climate change observed in 2022, such as floods in Pakistan, heat waves in Europe and Hurricane Ian.


text: The conference will be the first COP to take place in Africa since 2016, when COP22 was held in Marrakesh. Egypt's Minister of Foreign Affairs Sameh Shoukry will take over the presidency from Sharma at the start of the conference. The United States decided to support climate talks at COP27, and will try to assist countries that are most affected by climate change.


text: One week ahead of the summit, UNEP released a report outlining how there was "no credible pathway" to limiting global temperature increase to 1.5 °C and that mitigation efforts since COP26 had been "woefully inadequate". But countries can curb time spent in a warmer world by adopting more ambitious climate pledges and decarbonizing faster, according to a new research published in the academic journal Nature Climate Change during the COP27.


text: Several days before the opening of the summit a report was published, sponsored by some of the biggest agricultural companies. The report was produced by Sustainable Markets Initiative an organization of companies, trying to become climate friendly, established by the king Charles III. According to the report, Regenerative agriculture is already implemented on 15% of all cropland. Despite it the rate of transition is "far too slow" and must be tripled by the year 2030 for preventing the global temperature to pass the threshold of 1.5 degrees above preindustrial level. Agricultural practices must immediately change for not "destroying the planet". One of the authors emphasized that “The interconnection between human health and planetary health is more evident than ever before.” The authors propose a set of measures for accelerating the transition, like creating metrics for measuring how much the farming is sustainable and pay the farmers who will change their farming mode to more sustainable. They want to present their propositions in the summit.


text: Two days before the start of the talks, a compromise was reached, "that discussion would focus on 'cooperation and facilitation' not 'liability or compensation. The ultimate goal of the 2022 COP27 was in dispute. Wealthy countries were expected to focus on ways to help developing nations phase out fossil fuels and transition to renewable energy. However, tensions between richer, developed countries and poorer nations, the latter of which bear the brunt of climate impacts, over who should pay the costs of global warming, were expected to define the conference.


text: The conference was sponsored by Coca-Cola. Several environmental campaigners suggested this was greenwashing, given the company's contribution to plastic pollution.


text: In a report published in October 2021, the Intergovernmental Panel on Climate Change (IPCC) considered Africa to be the most vulnerable continent to the effects of climate change. More than 100 million Africans will in fact be threatened by global warming between now and 2030. Thus many States, NGOs and African commentators hoped that the holding of this summit in an African country would improve the visibility of the priority demands of civil society and African States, in particular the compensation of developing countries for the consequences of global warming.


text: As a COVID-19 recovery strategy, the Egyptian government increased hotel prices in Sharm El Sheikh, leading to concerns over the affordability and inclusivity of the conference. Egypt's foreign, environment and social solidarity ministries privately selected and screened local NGOs that would be permitted to apply for one-time registration for the climate summit. The application process and the selection criteria were not made public.


text: Around 90 heads of state and representatives from more than 190 countries were expected to attend, including United States president Joe Biden and climate envoy John Kerry, French president Emmanuel Macron, German chancellor Olaf Scholz, European Commission president Ursula von der Leyen, Indian prime minister Narendra Modi, Kenyan president William Ruto and Sri Lankan president Ranil Wickremesinghe.


text: By the number of attendees the COP is the second largest after COP26 in Glasgow, at 33,449 participants. This is the first COP without observer states as all participating countries, including Vatican City, have ratified the United Nations Framework Convention on Climate Change. 11,711 participants were from 1,751 non-governmental organizations. The United Arab Emirates led the largest delegation with 1,073 participants, followed by Brazil (573), and the Democratic Republic of the Congo (459). Many of the ten largest delegations came from African countries.


text: UK prime minister Rishi Sunak initially said that he would not attend COP27. However, on 2 November, Sunak backtracked and announced he would attend. Former prime minister Boris Johnson and Scottish first minister Nicola Sturgeon also attended the conference. Right after winning the 2022 general election, president-elect Luiz Inácio Lula da Silva of Brazil confirmed he will attend the summit.


text: Among the heads of state and government not attending were Chinese leader Xi Jinping and his premier Li Keqiang, as well as Russia's Vladimir Putin and his prime minister Mikhail Mishustin.


text: In September 2022, Egypt warned the United Kingdom not to backtrack on its climate targets, in light of a change to the new government of prime minister Liz Truss, and the announcement that new monarch Charles III would not attend the conference on Truss's advice. Following Truss's resignation, the request that Charles III not attend remained in place. Instead, he hosted a reception to discuss climate change at Buckingham Palace two days prior to COP27.


text: Australian prime minister Anthony Albanese, outgoing Brazilian president Jair Bolsonaro, and Swedish climate activist Greta Thunberg all did not attend COP27.


text: On 7 and 8 November, the conference began with a World Leaders' Summit, followed by discussions on topics such as climate finance, decarbonization, climate change adaptation and agriculture during the first week. The second week is expected to cover gender, water and biodiversity. French president Emmanuel Macron, Dutch prime minister Mark Rutte and Senegalese president Macky Sall will host an event on accelerating climate change adaptation in Africa. India has sought clarity and definition on climate finance besides motivating other countries to provide technology to combat climate and disasters.


text: Event spaces on the opening day of the conference were told they may need to be cancelled, unless they involve visiting heads of state, following tightening of security. These restrictions will not apply to the following day of the conference. Some NGOs criticized the move. Media access to the pavilions is also expected to have heavy restrictions.


text: In his opening remarks, Egyptian president Abdel Fattah el-Sisi called for countries to act on climate change, drawing attention to the impact of extreme weather events in recent years. Barbados premier Mia Mottley called for grant-based rather than loan-based approach to climate finance.


text: The United States proposed a system of carbon credits for facilitating energy transition in low income countries. The U.S. Development Finance Corporation tried to increase investment to help low income countries deal with different impacts of climate change. As a whole rich countries gave 29 billion dollars to the issue in the year 2020 but it is only a fraction of what is needed. The climate minister of Pakistan Sherry Rehman demanded high income countries will pay for the damage caused by climate change impacts, stating that floods in Pakistan cost the country 30 billion dollars that "Pakistan cannot afford". Some countries do announce new funding to support loss and damage in recent days, including New Zealand ($20 million) and Austria (50 million euros). Germany and Denmark pledged more than 170 million euros for the "Global Shield," a new fund that will help to lower income countries cope with climate disasters. Negotiations over loss and damage are expected to continue.


text: Germany and the United States announced over $250 million in resources to support Egypt’s clean energy economy. The program will deploy new wind and solar energy while decommissioning inefficient natural gas generation. It is also expected to enhance energy security by freeing up over two billion cubic meters of gas.


text: A new site (Climate Trace) was opened, showing from where exactly greenhouse gas emissions came from. The map is open to the public. The aim is to provide public with correct information as self-reported information is often unreliable, especially about methane. The data is based on measurements from satellites, and sensors on land and on ships and planes.


text: A coalition of organisations headed by NGO ProVeg International erected the first-ever pavilion dedicated to the climate impact of food at an international climate conference. The pavilion is called Food4Climate and participants all seek food systems change. Participants include Upfield, Oatly, Impossible Foods, the International Panel of Experts on Sustainable Food Systems (IPES-Food), and the Jeremy Coller Foundation.


text: On 11 November, celebrities, politicians, and businesses delivered a letter to COP27 President Sameh Shoukry calling for COP27 to adopt a global plant-based treaty. The treaty calls for:


text: On 12 November, Nitin Mehta the founder of Indian Cultural Centre of London wrote in "The Sunday Guardian" that if COP27 delegates do not decree that humans "abandon meat, fish, eggs and dairy" then COP27 will be a failure. As she waited in line at COP27 for a vegan burger, Sarah Garry of the British Society of Soil Science told CNBC that the vendor was the only place selling vegetarian food at the event plagued by logistics issues. Reuters reported that grilled meat and activists protesting animal agriculture are very visible at COP27, but governments, many of which heavily subsidize animal agriculture, have made no proposals to cut production of animal agriculture products. Instead governments are proposing controversial technical proposals to capture methane from animals or doctor their feed to make them produce less methane. Supporters of the plant-based treaty handed out free vegan burgers at the event.


text: At the conference, a loss and damage fund was agreed for the first time, considered a significant achievement. However, a commitment to phase out fossil fuels was not made.


text: Climate protests are common at each annual negotiation, and in previous years there have been sit-ins, marches, hunger strikes, and other forms of civil disobedience to call attention to the urgency climate change.


text: Ahead of the 2022 summit, the choice of Egypt as a host country attracted attention, in particular in regards to the country's human rights record, which "The New York Times" described as "abysmal," and fossil fuel use. Issues raised by critics included the authoritarian political system, mass imprisonment and curbs on civil society and dissent since 2013, under the leadership of Abdel Fattah el-Sisi. International human rights organizations reported that there are about 60,000 political prisoners in Egypt. Imprisoned Egyptian activist Alaa Abd El-Fattah criticized COP27 taking place in Egypt, and stated that "Of all the countries to host they chose the one banning protest and sending everyone to prison, which shows how the world is handling this issue." Naomi Klein, Bill McKibben and British Green Party MP Caroline Lucas are among the signatories who have signed a letter detailing their concerns about holding COP27 in Egypt.


text: On 15 July 2022, a White House adviser, Jerome Foster II, and a British climate justice activist, Elijah Mckenzie-Jackson, wrote a letter to the UNFCCC condemning the choice of Egypt as host of the COP27. The letter written to Patricia Espinosa, executive secretary of UNFCCC, requested it to move the conference to another safer African country due to concerns over LGBT rights, women's rights and civil rights suppression. Various human rights groups, including Amnesty International, viewed COP27 as an opportunity for Egypt to lift restrictions on civic space, and advocated for it to release its political prisoners and create a safe environment for advocates after COP27 ends.


text: Human Rights Watch expressed concerns regarding the state of freedom of expression in Egypt, and questioned to what extent it would be possible to protest in a country that has essentially banned all demonstrations and criminalized free assembly. On 12 September 2022, Human Rights Watch published a report based on interviews with more than a dozen activists, academics, scientists, and journalists working on environmental issues in Egypt. The report suggests that restrictions from the Egyptian government on independent nongovernmental organizations, including environmental groups, has curtailed organizations' ability to carry out independent advocacy and field work towards protecting the natural environment. In October 2022, the environment director at Human Rights Watch, Richard Pearshouse, stated that Egypt has threatened to derail meaningful global climate action by silencing the country's independent environmentalists before COP27.


text: When the official smartphone app for COP27 was released in late October, various human rights and security experts, such as Hossam Bahgat, discovered that it asks for various and unreasonable permissions for access to user data, such as emails and location tracking, which could be used by the Egyptian government for surveillance of attendants.


text: An Egyptian-American, Sherif Osman criticized the authorities in Egypt before the country hosted the COP27 climate conference. He also urged people to organize demonstrations during the summit. In a video on his YouTube channel, he said that “people must wake up and take to the streets”. On 6 November 2022, Osman was arrested by the UAE authorities, outside a restaurant in Dubai. An Arab League entity, Egypt requested the arrest on charges including "speaking negatively against government institutions”. Osman’s fiance, Saija Virta said she feared that he might face possible extradition to Egypt.


text: The British-Egyptian writer and activist Alaa Abd El-Fattah, who has been imprisoned for most of the previous nine years for his activism and criticism of Egypt’s government, had been on hunger strike since late October, and his case has become a central topic at COP27, especially after he reportedly stopped drinking water at the beginning of the summit. International pressure mounted on Egypt to release him: several world leaders, including British Prime Minister Rishi Sunak and German Chancellor Olaf Scholz, raised his case directly with Egyptian President Abdel Fattah el-Sisi, and Volker Türk, United Nations human rights chief, also urged Egypt to release him and other political prisoners. El-Fattah rose to prominence in Egypt's 2011 uprising.


text: At a news conference held by Sanaa Seif, sister of Alaa, the Egyptian parliament member Amr Darwish, confronted the speaker from the audience and was escorted out of the room by United Nations security officers. Representatives of nongovernmental groups at the conference threatened to walk out if the activist dies. El-Fattah's sister told reporters, "I urge President Biden to do something, whatever way out that is needed."


text: On 15 November 2022, Polish climate activists Dominika Lasota and Wiktoria Jędroszkowiak, and Ukrainian activists Svitlana Romanko, Valeria Bondarieva and Viktoriya Ball protested during a session held by Russians, whose 150-person delegation included 33 fuel lobbyists. The activists called out to the Russian delegation, stating that the Russians were war criminals who didn't have the right to be present at the conference and didn't deserve respect. Lasota called the Russians "despicable" () and held up a banner "Fossil Fuels Kill". The activists were forced out by security personnel. Justin Rowlatt of BBC News was also removed from the Russian session by security personnel after he asked the Russian delegation, "Do you plan to compensate for the damage made to the natural environment in Ukraine?".


title: F.E.A.R. (video game)

text: F.E.A.R. First Encounter Assault Recon is a first-person shooter psychological horror video game for Microsoft Windows, Xbox 360, and PlayStation 3. It is the first game in the "F.E.A.R." series. Developed by Monolith Productions and originally published by Vivendi Universal Games and their subsidiary Sierra Entertainment, the game was released for Windows in October 2005 in both a standard edition and a "Director's Edition". Day 1 Studios ported the game to the Xbox 360 in October 2006 and to the PlayStation 3 in April 2007. Two standalone expansion packs were released for the Windows and Xbox 360 versions of the game, both developed by TimeGate Studios; "F.E.A.R. Extraction Point" (2006) and "F.E.A.R. Perseus Mandate" (2007). Released on Windows in March 2007, "F.E.A.R. Gold Edition" includes all the content from the "Director's Edition" plus "Extraction Point", whilst "F.E.A.R. Platinum Collection", released for Windows in November 2007, includes the "Director's Edition", "Extraction Point", and "Perseus Mandate". Neither expansion is now considered canon, as the Monolith-developed "" ignores the events of both.


title: F.E.A.R. (video game)

text: The game's story revolves around the fictional F.E.A.R. (First Encounter Assault Recon) unit, an elite group in the United States Army tasked with investigating supernatural phenomena. When a private military company's secret research program goes wrong and a dangerous and powerful psychic is unleashed, F.E.A.R. are called in, with the player taking on the role of the unit's newest recruit, Point Man. However, it soon becomes apparent there is much more going on than a rogue psychic as Point Man finds himself facing a lethal and unpredictable paranormal menace in the form of a young girl with extraordinary destructive power.


title: F.E.A.R. (video game)

text: Although the atmosphere of the game was heavily influenced by Japanese horror, Monolith's primary goal with "F.E.A.R" was to make the player feel like the hero of an action film. To this end, they combined a slow-motion technique called "reflex time", a semi-destructible environment, and a highly detailed particle system in an attempt to create as immersive an environment as possible. Another vital element in this is the game's AI, with Monolith employing a never-before-used technique to give hostile NPCs an unusually broad range of actions in response to what the player is doing. This results in NPCs who can also work as a team, such as performing flanking maneuvers, laying down suppressive fire, and attempting to retreat when under heavy fire.


title: F.E.A.R. (video game)

text: Upon its initial Windows release, "F.E.A.R." was very well received, with the AI garnering especial praise. Critics also lauded the graphics, atmosphere, sound design, music, and combat mechanics. Common points of criticism were a lack of enemy variety, a weak plot, and repetitive level design. The Xbox 360 version was also well received, but the PlayStation 3 version met with mixed reviews, with many critics unimpressed with the port's technical issues and graphical inferiority. The game was a commercial success, selling over three million units worldwide across all three systems.


title: F.E.A.R. (video game)

text: "F.E.A.R." is a first-person shooter in which the player's arsenal includes handguns (which the player can dual wield), an assault rifle, submachine gun, shotgun, sniper rifle, nail gun, repeating cannon, rocket launcher, and particle beam. Each weapon differs in terms of accuracy, range, rate of fire, damage, and weight. The latter characteristic is important, as the more powerful weapons (rocket launcher, cannon, and particle beam) tend to be more cumbersome and slow the player's movement and reaction speed. Only three different firearms can be carried at any one time. The player also has access to three different types of explosive - frag grenades, proximity grenades, and remote bombs. The player can carry five of each type, and can carry all three at once (allowing for up to 15 explosives), but only one type may be equipped at any one time. Additionally, when using the remote bombs, the player must holster their weapon.


title: F.E.A.R. (video game)

text: Compared to other shooters where melee combat is often a last resort, "F.E.A.R."s melee system is a viable combat alternative. The butts of all firearms can be used in close combat; lighter weapons, although less powerful, allow the player to move around more quickly and increase the chances of a successful melee attack. Movement speed is maximized if a player holsters their weapon, which allows them to engage in hand-to-hand combat. As well as the basic melee attack, players can also perform a jumping kick and a sliding tackle, both of which, if landed correctly, instantly kill regular enemies.


title: F.E.A.R. (video game)

text: A prominent gameplay element in "F.E.A.R." is "reflex time"; an ability which slows down the game world while still allowing the player to aim and react at normal speeds. This effect is used to simulate the player character's superhuman reflexes, and is represented by stylized visual effects, such as bullets in flight that cause air distortion or interact with the game's particle system. The duration which reflex time lasts is limited, determined by a meter which slowly fills up automatically when the ability is not being used. The player can permanently increase the size of the reflex meter by picking up reflex boosters. Other pickups available during the game include medkits (of which the player can store ten), protective armor (reduces the amount of damage the player takes during combat), and health boosters (permanently increase the player's health meter).


title: F.E.A.R. (video game)

text: Reflex time is an important element of the game's combat mechanics insofar as "F.E.A.R."s artificial intelligence allows hostile NPCs an unusually large range of action; enemies can duck to travel under crawlspaces, jump through windows, vault over railings, climb ladders, and push over large objects to create cover, all in reaction to what the player is doing at any given moment. Various opponents may also act as a team, taking back routes to flank the player, using suppressive fire, taking cover and often falling back if under fire, alerting one another as to the player's location, and giving one another orders (which may, or may not, be followed).


title: F.E.A.R. (video game)

text: The game's multiplayer can support up to 16 players, and initially featured deathmatch, team deathmatch, elimination, team elimination, and capture the flag. "Control" and "Conquer All" games were added later as free downloadable content. Also added at a later date were game types specifically designed to allow players to use reflex time; SlowMo deathmatch, team SlowMo deathmatch, and SlowMo capture the flag. These game types feature a reflex time power-up, which only one player can carry at a time, and when it is fully charged (it charges when it is being carried) that player can activate it and give themselves (and the rest of their team, if applicable) a considerable speed advantage over opposing players. However, whoever is carrying the power-up will have a bluish glow and will be permanently visible on all players' mini-maps. The Xbox 360 and PlayStation 3 versions of the game feature the same modes as the PC version (with both "Control" and "Conquer All" added after release). Multiple new maps were made available for the Xbox 360 version throughout 2007, with the release of three major map packs; Nightmare, Synchronicity, and Bonus.


title: F.E.A.R. (video game)

text: In August 2006, "F.E.A.R."s multiplayer component was re-released on PC as a free download under the name "F.E.A.R. Combat". Incorporating the latest multiplayer patches, all ten gameplay modes, and all nineteen maps, "F.E.A.R. Combat" was compatible with the original PC retail edition's multiplayer, meaning those with only the download could play with those who own the full game.


title: F.E.A.R. (video game)

text: In 2002, the elite United States Army unit F.E.A.R. (First Encounter Assault Recon) was founded to "combat paranormal threats to national security". The game is set in 2025 in the fictional city of Fairport, and begins as the unit is joined by a newly assigned rookie (referred to only as Point Man). At a facility owned by Armacham Technology Corporation (ATC), a psychic operative named Paxton Fettel has gone rogue. Officially an aerospace manufacturer and medical research company, in reality, ATC are a hugely powerful private military company dabbling in cryogenics, nuclear technology, cloning, and telepathy. They were attempting to develop a unit of telepathically controlled clone soldiers (known as Replicas), and Fettel was their commander. However, he has now used the Replicas to seize control of the facility. The mission of the three-person F.E.A.R. team (Point Man, Sgt. Spencer Jankowski, and CTO Jin Sun-Kwon) is to eliminate Fettel, which will automatically shut down the Replicas.


title: F.E.A.R. (video game)

text: As soon as the mission begins, Point Man starts to have powerful hallucinations – Fettel asking him "what's the first thing you remember?"; a woman screaming, "where are you taking him?"; a man telling him, "you will be a god among men"; a baby crying; and, most frequently, a young girl in a red dress. In one particular hallucination, he sees Fettel interrogating a worker, demanding to know where "Alma" is. Shortly thereafter, Point Man finds the mutilated worker, who manages to say, "Alma. If Fettel finds her...Origin" before he dies. Despite Jankowski disappearing, F.E.A.R. are deployed to ATC headquarters, where a Delta Force recon team has dropped out of contact.


title: F.E.A.R. (video game)

text: Point Man learns that Fettel's brain waves during his revolt were identical to those during the "first synchronicity event", which happened when he was ten and resulted in the termination of "Project Origin". This time, however, Fettel is infinitely more dangerous. Meanwhile, Point Man finds that the Delta recon team have been massacred. He then encounters an ATC survivor, Aldus Bishop, who tells F.E.A.R. that the Replicas were looking for Harlan Wade, a senior ATC researcher. A Delta Force team led by Sgt. Douglas Holiday is sent in to extract Bishop. They get him to a helicopter, but as he is boarding, he is shot by ATC security. Point Man subsequently learns that Fettel was the "second prototype" resulting from Project Origin. Shortly thereafter, Fettel tells Point Man "a war is coming. I've seen it in my dreams. Fires sweeping over the earth. Bodies in the streets. Cities turned to dust. Retaliation."


title: F.E.A.R. (video game)

text: Point Man subsequently learns that the prototypes were created from the genetic code of a female psychic named Alma, who gave physical birth to both prototypes from within an induced coma. He also learns about the "synchronicity event" – despite being in a coma, Alma formed a telepathic link with Fettel, and began influencing his actions, leading to several deaths. In the Origin facility, Point Man discovers that Alma was only eight when she was brought into Origin, 15 when the first prototype was born, and she is the girl in the red dress. He also learns that Wade is planning on freeing Alma from stasis in the Origin facility, even though she officially died in 2005. After her death, the facility was sealed until 2025, when it was reopened (over Wade's objections) with an eye to possibly restarting the project. Moments later, Fettel experienced the second synchronicity event. Point Man then has an hallucination in which Fettel tells him that they are brothers, both born of Alma – Point Man is the first prototype. Finding Fettel, he shoots him in the head, rendering the Replicas dormant. He then witnesses Wade, who is revealed to be Alma's father, releasing her from stasis. She immediately kills him, and Point Man heads to the facility's nuclear reactor core, overloading it.


title: F.E.A.R. (video game)

text: As the facility explodes, Point Man escapes and is picked up by a Delta Force helicopter, on board of which are Holiday and Jin. As it flies over the mushroom cloud, the helicopter loses power, and Alma pulls herself up into the cabin. The game then cuts to black. After the credits, we hear a phone call between an unnamed senator and Genevieve Aristide, president of ATC. She assures him that Project Origin is secure and Fettel has been neutralised. As he complains about how indiscreet the cleanup has been, she points out, "there is some good news, however. The first prototype was a complete success."


title: F.E.A.R. (video game)

text: Although it was known from late 2003 that Monolith Productions were working with Vivendi on a new title, nothing was officially revealed until May 2004, when a single screenshot from the new game was published in Vivendi's weekly newsletter. Written above the picture was, "They say bullets taste like chicken," and written below was, "Hope you're hungry." Vivendi promised that more would be revealed in a few days, at the upcoming E3. "F.E.A.R." was formally announced at E3, with the reveal of the game's title, a trailer, a brief plot outline, the genre (first-person shooter), the platform (PC), the release date (fourth quarter of 2005), and the probable rating (M). The following day, a non-playable demo was made available to journalists.


title: F.E.A.R. (video game)

text: Development had begun with the game tentatively titled "Signal". Writer, director, and lead designer Craig Hubbard stated that the game "evolved out of a concept we started developing right after """. Kevin Stephens, Monolith's director of technology and one of the game's lead programmers, later elaborated that the concept was to make the player feel like the hero of an action film. It was this ambition which led to the development of reflex time; Hubbard said he wanted "to make combat as intense as the tea house shootout at the beginning of John Woo's "Hard Boiled"", and defeating "enemies with style" was crucial to this. In a 2008 interview with "IGN" promoting "", he explained,


title: F.E.A.R. (video game)

text: Another key influence was the Wachowskis' "The Matrix" (1999). In particular, the lobby scene was the team's initial point of reference for how the game's combat should look and feel. With these influences in mind, and wanting to create as immersive an experience as possible, reflex time came to play a key role in the game's combat mechanics.


title: F.E.A.R. (video game)

text: To further the sense of immersion, Monolith also employed stylistic elements such as a silent, nameless protagonist with an unknown background, and allowing the player to see the protagonist's body when looking down or sideways. Hubbard states, "it was a conscious decision not to give the player an identity. We wanted players to be able to "become" the protagonist without any reminders that they're supposed to be someone else."


title: F.E.A.R. (video game)

text: As well as its core first-person shooter gameplay, "F.E.A.R." is also a psychological horror, and was specifically influenced by Japanese horror, with Stephens citing films such as Hideo Nakata's "Ringu" (1998), the Pang brothers' "The Eye" (2002), Takashi Shimizu's "" (2002), and Nakata's "Dark Water" (2002). Hubbard also cites "Ringu" and "The Eye" as well as Katsuhiro Otomo's "Akira" (1988), Kim Tae-yong and Min Kyu-dong's "Memento Mori" (1999), Kiyoshi Kurosawa's "Kairo" (2001), and Koji Suzuki's 1991 novel "Ringu" (on which Nakata's film was based).


title: F.E.A.R. (video game)

text: Hubbard has said that his goal with "F.E.A.R."s horror elements was to achieve "a subtle and cerebral type of dread, emphasising suspense and the shadows." Believing that scares "always works best when you're not expecting it", Monolith attempted to keep the "psychology of the encounter" in the player's mind at all times, in order to "get under [the player's] skin". Thus, they shunned the "in your face 'monsters jumping out of closets' approach". Lead level designer John Mulkey states that "creating expectation and then messing with that expectation is extremely important". Similarly, Hubbard explains that "horror is extremely fragile [...] you can kill it by spelling things out too clearly and you can undermine it with too much ambiguity". With this in mind, he attempted to strike a balance with the narrative elements of "F.E.A.R.", giving players "enough clues so that [they] can form [their] own theories about what's going on, but ideally [they will] be left with some uncertainty". Speaking to "Rock Paper Shotgun" in 2013, he reiterated this point; "you want to see something just enough that you can evoke it in your mind and kind of picture it a little bit, but not enough that you can really understand it."


title: F.E.A.R. (video game)

text: The main source of the game's horror is Alma Wade. In terms of influences, she is often assumed to have been inspired by Samara from "The Ring" (the American remake of "Ringu"). Hubbard, however, explains that Alma "was born out of a tradition of eerie, faceless female ghosts" and not "as an answer to any specific movie character". Although he does acknowledge that Alma "bears some visual resemblance to the ghosts in "Dark Water" or "Séance"", he points out that "creepy little girls have been freaking [him] out since "The Shining"". Alma was named after Alma Mobley from Peter Straub's novel "Ghost Story" (1979).


title: F.E.A.R. (video game)

text: In relation to the game's villain, Paxton Fettel, producer Craig Hewitt has explained that initially there were two villains, but they were ultimately merged. Originally, Fettel was a supporting villain, with the game's main antagonist (aside from Alma) being Conrad Krige. Krige's name was a tribute to actress Alice Krige, who had portrayed Alma Mobley in John Irvin's 1981 adaptation of Straub's novel. Initially, Fettel, Point Man, and Krige were all prototypes, with Point Man and Fettel considered failures. Krige, a perfect soldier, would use Fettel as his interrogator, with Fettel able to consume a person's flesh to learn the truth about any given subject. Hubbard explains that "we ended up consolidating [Fettel and Krige] just because there wasn't enough storytelling real estate."


title: F.E.A.R. (video game)

text: "F.E.A.R." was the first game developed using the "Jupiter EX" iteration of LithTech, Monolith's own game engine. Driven by a DirectX 9 renderer, "Jupiter EX" has major advancements over its direct precursor, "Jupiter", and features both Havok physics and the Havok "Vehicle Kit", which adds support for common vehicle behavior (a feature which goes unused in "F.E.A.R.", as no vehicles appear outside of scripted sequences). Originally, there the game opened in the middle of a car chase, which the team had spent two months working on. However, they couldn't get it to work they way they wanted and so they ultimately decided to drop it altogether.


title: F.E.A.R. (video game)

text: Graphically, "F.E.A.R." uses normal mapping, bump mapping, and parallax mapping to give textures a more realistic appearance; the latter is used extensively to give the appearance of depth to flat bullet hole sprites on walls. It also uses volumetric lighting, lightmapping, and a per-pixel lighting model, which allows for complex lighting effects. Vertex, pixel, and high-level shaders are also featured in the game. Cutscenes were built using Havok and Bink Video.


title: F.E.A.R. (video game)

text: The game's AI was the culmination of work which Monolith had begun with "" (2000) and "" (2002). In developing the AI routines, the team's main goal was to try to match the NPCs' intelligence with the player's skill level. According to Jeff Orkin, senior AI engineer, "our goal is not to have the players dominated by the AI, but we want them to learn to respect the AI so much that even the easy kills provide a sense of accomplishment."


title: F.E.A.R. (video game)

text: To accomplish this, "F.E.A.R." was the first video game to use "GOAP" (Goal Oriented Action Planning). GOAP is a STRIPS-based architecture that allows NPCs more autonomy than simply reacting to the player. Instead they decide on a goal from a list of options and plan how best to reach that goal. To do so, the game uses two standard AI components – A* and a Finite-state machine (FSM) – but it uses them in unconventional ways. Usually, the FSM controls all NPC behavior by way of a list of possible states, with A* planning the paths. In "F.E.A.R.", however, the FSM has only three states ("GoTo", "Animate", and "UseSmartObject"), and A* is used to plan sequences of action as well as to plan paths. In essence, this means that A* navigates the FSM, selects the state, selects when to initiate a state transition, and selects what parameters to fulfil in each state (e.g. it doesn't just initiate a transition into the GoTo state, it also specifies a location and, upon reaching that location, it specifies to transition to the animation state and what animation to play).


title: F.E.A.R. (video game)

text: The logic determining when to transition from one state to another usually has to be specified manually by a programmer, meaning goals have a hard-coded and unalterable plan. In "F.E.A.R.", however, GOAP handles this, with the planning system deciding how best to achieve any of the 70 available goals, using any combination from the 120 actions encoded in the game. Orkin explains that "with a planning system, we can just toss in goals and actions. We never have to manually specify the transitions between these behaviors. The AI figure out the dependencies themselves at run-time based on the goal state and the preconditions and effects of actions." This is manifested in the gameplay insofar as,


title: F.E.A.R. (video game)

text: The AI must make these decisions almost instantly, as GOAP is designed so that each choice is complete by the time the next frame starts. When the AI is searching through the available actions within the state-space, it must constantly reevaluate this process based on what is happening in the game world. To do this, separate sensors are used to gather information, with world-knowledge cached locally so the AI always has information immediately available. Because of this, the AI is constantly changing its plan based upon what the player is doing – if the player throws a grenade, the NPCs will flee; if the player is being very aggressive, they'll be defensive; if the player is hiding, they'll be offensive and try to flush him out. An important part of this is the AI's freedom of movement within the game world. According to Orkin,


title: F.E.A.R. (video game)

text: In relation to squad behavior, Orkin explains that "AI have goals to respond to orders, and it is up to the AI to prioritize following those orders versus satisfying other goals." When a character seems to respond to a verbal command (for example, when a character is told to flank), what is happening is that the AI has decided to flank the player, reasoning that a flanking maneuvre is the best way to fulfil its goal. This decision then triggers the nearest character to play the audio "flank", followed by the original character beginning to move to the location, thus making it appear as if the NPC is responding to the command. In actuality, it's the command that is responding to the NPC, but it gives the illusion of verbal orders being followed.


title: F.E.A.R. (video game)

text: The game's AI was universally lauded upon the original PC release. It went on to win "GameSpot"s "2005 Best AI Award", and earned the #2 ranking on AIGameDev's "Most Influential AI Games" in 2007. The GOAP system went on to be used in games such as "" (2007), "Just Cause 2" (2010), "" (2010), "F.E.A.R. 3" (2011), and "" (2011), as well as subsequent Monolith games, such as "" (2008), "" (2009), "" (2014), and "" (2017).


title: F.E.A.R. (video game)

text: In keeping with "F.E.A.R."s tonal influences, the sound design and music were designed in the style of Japanese horror films, particularly their tendency to produce tension from ambient sound. The audio engineers used inexpensive equipment to create crude sound effects, employing methods such as dragging metal across different surfaces and recording pump sounds. Composer Nathan Grigg says of the sound design, "sometimes the absence of sound is the best sound. The blank spaces are some of the most disturbing parts of the game. They allow players to fill in the space, which lets their imagination create their own personal horror."


title: F.E.A.R. (video game)

text: In relation to the music, Grigg acknowledges that "sound and music blurred a little bit." He wanted the score to be "more cerebral and tailored to each individual event", pointing out that "sometimes the music is used to ratchet up the tension to toy with players ... [it] will build to a terrifying crescendo before cutting off without a corresponding event, only to later have the silence shattered by Alma, when players least expect it".


title: F.E.A.R. (video game)

text: In 2005, "F.E.A.R." made playable appearances at the Consumer Electronics Show (CES), the Game Developers Conference (GDC), and E3, all of which were well received. A week after the CES show in January, game journalists were allowed to play the game's multiplayer component for the first time. The game's showing at E3 garnered it the Game Critics Award for "Best Action Game". A single-player demo was released to the public in August. The following week, Vivendi allowed journalists to play through the first four levels of the game, unabridged, which generated even more positive reaction than their previous hands-on experiences. A multiplayer demo was released in September. A week before release, Vivendi had film director John Carpenter attend a number of media events, giving his thoughts on the game, of which he said, it was "as close as I've ever come to playing a movie."


title: F.E.A.R. (video game)

text: In the lead up to the game's release in October 2005, episodes were released online of a comedy miniseries created by Rooster Teeth and distributed by BeSeen Communications. P.A.N.I.C.S. ("People Acting Normal In Crazy-Ass Situations") is a parody of "F.E.A.R.", produced primarily by way of the machinima technique of synchronizing footage created by a game engine (in this case, the LithTech Jupiter EX) to pre-recorded dialogue and audio effects. Vivendi commissioned Rooster Teeth and BeSeen to make the series as a viral marketing campaign, with Lori Inman, Vivendi's Senior Brand Manager, stating, "with "F.E.A.R." we knew we had a very special title combining a cutting edge FPS engine with a spine-tingling storyline. We liked the idea of creating a humorous viral machinima series that would entertain fans and showcase the spectacular visuals and character animations offered in the game."


title: F.E.A.R. (video game)

text: The mini-series consists of five episodes, each running between three and four minutes. Four episodes were released in the weeks prior to the game's launch ("Enter Frank" on September 30, "Who Wants the Wing?" on October 1, "The Writing on the Walls" on October 10, and "All Things Must Come to an End..." on October 19). A fifth episode – Episode #0, set moments before "Enter Frank" – was included with "F.E.A.R. Director's Edition". The story centers on Frank, a new recruit into Bravo Team, a special military group formed to battle supernatural enemies. As the series begins, Bravo Team has been sent into a military facility to investigate reports of paranormal activity. As team members start dying in horrific fashion, Frank is incredulous to learn his teammates don't believe in the paranormal and keep coming up with increasingly ridiculous explanations for what it happening.


title: F.E.A.R. (video game)

text: Included with the "Director's Edition" of the game were the Alma Interview prequel and the Dark Horse comic prequel.


title: F.E.A.R. (video game)

text: "Alma Interview" is a series of four snippets from an interview between ATC employee Dr. Green and the seven-year-old Alma in the lead up to her being placed in Project Origin. In the first clip, as Wade observes from behind a one-way mirror, Green tries to strike up a rapport with Alma by telling her about her own daughter and telling her she's pretty, but Alma refuses to speak. In the second clip, Green is distracted by a voice seemingly coming from a vent, and when she turns around, Alma disappears. Green sees Alma's reflection in the mirror, and when she turns around again, Alma is back in the room. In the third clip, Green tries threatening Alma, telling her that if she doesn't cooperate, she will be placed back in her cell. Alma responds by telepathically forcing Green to draw a disturbing picture of a child surrounded by blackness. In the fourth clip, Alma asks Green, "do you like to play games?" When Green says no, Alma says, "I have a game", and Green finds herself suddenly trapped in a vent. When she just as quickly finds herself back in the room, she demands that Wade let her out, but he ignores her. Alma then asks Green, "Who are they? I see them when I close my eyes. They say they know you. They say you made them. They say you're going to kill me." As a terrified Green tries frantically to open the door, Alma dances around her, before sitting back down. In the observation room, Wade doesn't react to anything he sees.


title: F.E.A.R. (video game)

text: Written by Alden Freewater with art by Edwin David, the Dark Horse comic takes place moments before the game begins and expands on the game's opening cutscene. At ATC headquarters, as Alma telepathically contacts Fettel, a new recruit to the security detail is learning about Fettel and the Replicas. One of the employees explains that ATC are worried about a second synchronicity event; in the previous one, Fettel's "brainwaves changed, like someone else had entered his mind." The team then see Alma in the corridor near Fettel's room, and send the new recruit to investigate. Meanwhile, Fettel promises Alma that he'll find her no matter what, and the door to his cell blasts open. When the recruit arrives, Alma kills him as Fettel leaves his cell. The Replicas then activate and open fire, killing everyone they encounter. Fettel approaches an employee and demands to know where Alma is. When the man says he doesn't know, Fettel replies, "your tongue can lie, but your flesh will tell me everything." He then takes out a knife and begins to cut and consume part of the man.


title: F.E.A.R. (video game)

text: The Xbox 360 port was announced in May 2006. Vivendi revealed that the game would be shown later that month at E3 and that the port was being handled by Day 1 Studios rather than original developers Monolith, who were now owned by Warner Bros. New to this version of the game was an "Instant Action" mode for single-player. In this mode, players are dropped into a modified level and must get to a designated point as quickly as possible whilst simultaneously killing as many enemies as possible and being as accurate as possible. At the end of the level, the game uploads players' stats to a global leaderboard on Xbox Live. Graphically, the Xbox 360 version was equivalent to the PC version on maximum settings and Day 1 also increased the native resolution to 720p and added high dynamic range lighting, an advanced particle system, and HD textures. The Xbox version also features an exclusive bonus level not found in the PC original, which depicts Holiday's attempt to extract Bishop from ATC headquarters. This version also features a new weapon – dual wielded automatic handguns.


title: F.E.A.R. (video game)

text: The PlayStation 3 port was announced in August 2006, with Vivendi revealing it would be one of the console's launch titles, scheduled for North American release on November 17. Like the Xbox 360 version, the PlayStation 3 port was developed by Day 1 Studios. This port features the same Instant Action mode from the Xbox 360 version. It also has its own exclusive additional weapon (a street sweeper shotgun) and bonus mission, which depicts the Delta Force recon team's journey through ATC headquarters prior to encountering Alma. Like the Xbox version, the game's native resolution was 720p, but the other enhancements were removed for this version. In early November, Sierra announced that the PlayStation 3 port had been pushed back to February 2007. In February, they announced it had been pushed back to April.


title: F.E.A.R. (video game)

text: In relation to the additional content in the two ports, and why it differed from system to system, producer Rob Loftus explained, "we wanted everybody to feel like they got something special. But at the same time, we didn't want to put more content in one version and have the other version suffer for it."


title: F.E.A.R. (video game)

text: Monolith themselves were unhappy with the ports, specifically the difference in quality from the original, especially on the PlayStation 3. In December 2008, "Project Origin"s lead artist, Dave Matthews, told "CVG" that for the sequel, "we're handling all three versions, we've changed our development structure to develop all three SKUs simultaneously and there's no lead platform." The following month, he reiterated, "the two ports were done outside of Monolith and from a Monolith perspective we feel they didn't do everything that they could of achieved."


title: F.E.A.R. (video game)

text: The initial PC release received "generally favorable reviews", and holds a score of 88 out of 100 on Metacritic, based on 57 reviews.


title: F.E.A.R. (video game)

text: "IGN"s Tom McNamara scored it 9.2 out of 10, praising the atmosphere and weapon variety. Although he was critical of the repetitive environments and cliched plot, he called the game "one of the best shooters this year", finding it to be the best first-person shooter since "Half-Life 2" (2004). "GameSpot"s Jason Ocampo scored it 9.1 out of 10, arguing that it "elevates the genre to a whole new level of intensity." He especially praised the combat mechanics ("some of the greatest gunplay available"), the implementation of slow-motion, and the AI ("the smartest, most aggressive, most tactically oriented AI opponents that we've ever encountered"). His criticisms focused on a lack of enemy variety, repetitive environments, and a weak plot.


title: F.E.A.R. (video game)

text: "Eurogamer"s Tom Bramwell scored the game 9 out of 10. He too praised the implementation of slow-motion (which he found superior to the "Max Payne" series) and the combat mechanics (which he found superior to both "Half-Life 2" and "Doom 3"). He also praised the AI, especially at higher difficulties. Although he was critical of the environments and weak plot, he concluded that the game felt "fresh and compelling." "Game Informer"s Adam Biessener also scored it 9 out of 10. He too was critical of the plot and level design, but he argued that the gameplay was so good as to make up for these problems. He especially praised the AI ("hands down the smartest AI-controlled opponents I've ever faced") and the combat mechanics ("intense almost to the point of sensory overload").


title: F.E.A.R. (video game)

text: "Computer Gaming World"s Shawn Elliott scored it 4 out of 5. Although he was critical of the plot and the game's horror element (citing "treadmill scare tactics"), he praised the combat mechanics, AI, and implementation of slow motion. Charles Herold of "The New York Times" found it to be "as thrilling and involving as "Half-Life", but [lacking] its narrative panache." He also criticised the characterisation, and felt that the encounters with Alma were "disconnected from the rest of the game."


title: F.E.A.R. (video game)

text: Like the PC version, the Xbox 360 port received "generally favorable reviews", and holds a score of 85 out of 100 on Metacritic, based on 44 reviews.


title: F.E.A.R. (video game)

text: "IGN"s Eric Brudvig scored it 9.1 out of 10, praising the atmosphere, combat mechanics, AI, graphics, and instant action mode, but criticising the story and level design. He was also impressed with the quality of the port itself; ""F.E.A.R." has made it from the PC to 360 with everything that made it an outstanding experience." "Eurogamer"s Kristen Reed scored it 9 out of 10, calling it the most exciting game since "" (2001). He especially praised the combat mechanics, AI, and implementation of slow motion. Although he was critical of the environments, lack of enemy variety, and the "unengaging" plot, he concluded, "it gets the core of the experience so absolutely spot-on."


title: F.E.A.R. (video game)

text: "GameSpot"s Jason Ocampo scored it 8.6 out of 10. As with many others, he was critical of the lack of enemy variety, the repetitive level design, and the plot. However, he praised the combat mechanics, implementation of slow-motion, AI, multiplayer, and graphics, calling it "easily one of the most intense and atmospheric games on the Xbox 360." The UK edition of "Official Xbox Magazine" scored it 8 out of 10, praising the AI and slow motion, but criticising the level design and plot.


title: F.E.A.R. (video game)

text: The PlayStation 3 port received "mixed or average reviews", with a score of 72 out of 100 on Metacritic, based on, 31 reviews.


title: F.E.A.R. (video game)

text: "IGN"s Greg Miller scored it 8.1 out of 10, and was unimpressed with the graphics and the loading times, which he clocked at up to one minute. Although he wrote that "the PS3 doesn't hold a candle to the visuals found in the Xbox 360 version", he argued that the game is "still one of the best experiences I've had on a PS3," praising the combat mechanics and multiplayer. "PSM3"s Tim Edwards scored it 7.2 out of 10, and was critical of the game's pace, the graphics, and the complex controls, although he was impressed with multiplayer and instant action mode.


title: F.E.A.R. (video game)

text: "GameSpot"s Jason Ocampo scored it 7.1 out of 10, arguing that it "lacks the level of polish and atmosphere seen in the previous two versions." He especially criticised the load times and the "erratic frame rate". "Electronic Gaming Monthly" scored it 5 out of 10, with Joe Rybicki calling it "a tragedy" and citing "inexcusable technical issues", such as stuttering graphics, a delay when pressing fire, and sound coming from everywhere instead of being localised. He praised the atmosphere and the AI, but called it "one of the most reprehensible ports in recent memory."


title: F.E.A.R. (video game)

text: The game was a commercial success. The PC version received a "Silver" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 100,000 units in the United Kingdom. By the time the game was released on PlayStation 3 in April 2007, the combined worldwide sales of the PC and Xbox 360 versions was over two million units. The PlayStation 3 version itself was the console's best selling title in April, moving 45,864 units in North America.


title: F.E.A.R. (video game)

text: "F.E.A.R." won "Computer Games Magazine"s 2005 "Best Sound Effects" award, and was a runner-up for their list of the year's 10 best PC games. It won 2005's "Best Action Game" from both the Game Critics Awards and "PC Gamer US". "GameSpy" awarded it their 2005 "Best Story" award. In "GameSpot"s 2005 annual awards, it won "Best AI" and "Best Graphics (Technical)". At the 4th Annual Game Audio Network Guild Awards in 2006, it shared the "Best Use of Multi-Channel Surround" with "Call of Duty 2".


title: F.E.A.R. (video game)

text: "F.E.A.R. Director's Edition" was announced a few weeks prior to the release of the game and was released alongside it. Accompanying the basic CD-ROM version of the game was a DVD version, which also contains the Dark Horse comic prequel, "Alma Interview", a "Making of "F.E.A.R."" documentary, a one-hour "Developers' commentary" (featuring writer/director/designer Craig Hubbard, artist David Longo, producer Chris Hewitt, programmer Kevin Stephens, and lead level designer John Mulkey), and "Episode #0" of "P.A.N.I.C.S."


title: F.E.A.R. (video game)

text: The first standalone expansion, "F.E.A.R. Extraction Point", was announced for PC in early May 2006. The expansion was being developed by TimeGate Studios. Because of rights issues (Monolith, who had been purchased by Warner in 2004, owned the rights to the IP and characters, but Vivendi still owned the name "F.E.A.R."), it was clarified in a press release that the plot for "Extraction Point" had been approved by Monolith and was in line with their own plans for a full sequel, which had been announced in February. The game was first shown at E3 2006.


title: F.E.A.R. (video game)

text: Also developed by TimeGate, the second standalone expansion, "F.E.A.R. Perseus Mandate", was announced for PC in July 2007 and first shown at E3 that year. It is not a narrative a sequel to "Extraction Point", but is instead a sidequel to both the base game and the first expansion, focusing on a different three-man F.E.A.R. squad.


title: F.E.A.R. (video game)

text: "F.E.A.R. Files" was announced for Xbox 360 in July 2007, containing both "Extraction Point" (which had hitherto only been available for PC) and "Perseus Mandate". Originally, the plan was to release it on both PlayStation 3 and Xbox 360, but the PlayStation version was cancelled. As well as the two standalone expansions, "F.E.A.R. Files" also includes seven new instant action maps and five new multiplayer maps.


title: F.E.A.R. (video game)

text: Released on Windows in March 2007, "F.E.A.R. Gold Edition" includes all the content from the "Director's Edition" plus "Extraction Point". "F.E.A.R. Platinum Collection" was released for Windows in November 2007, and includes the "Director's Edition", "Extraction Point", and "Perseus Mandate". The complete "F.E.A.R." series was released on Steam in July 2012, with the "Platinum Collection" only available as part of the bundle. The "Platinum Collection" was released on GOG.com in February 2015. In November 2021, the "F.E.A.R." franchise was added to Microsoft's backward compatibility program, making the games playable on the Xbox One and Xbox Series X/S.


title: F.E.A.R. (video game)

text: In February 2006, Monolith confirmed they would be making a sequel to the original game, explaining that because Vivendi owned the rights to the "F.E.A.R." name, the sequel would come under a different title. Up to September 2008, the sequel was to be called simply "Project Origin", but that month, Monolith and Warner regained the rights to the "F.E.A.R." name, allowing them to name the game "F.E.A.R. 2: Project Origin". In December 2008, it was confirmed that despite initial reports that Monolith had approved the story for the two expansions and that that story was in line with their plans for a sequel, "Project Origin" would in fact ignore the events of both "Extraction Point" and "Perseus Mandate" and instead serve as a direct sequel to the original game. "Project Origin"s lead artist, Dave Matthews, explained that the expansions