Mitsuo Iso (磯 光雄, Iso Mitsuo, born 1966 in Aichi, Japan) is a Japanese animator, director.[1][2]
He worked as a freelance artist through Neomedia, Studio Zaendo, and Studio Ghibli.[1][2]
When he participates in anime works as an animator, he sometimes uses aliases such as Mikio Odagawa and Hideo Tateda, or does not give his name.
After dropping out of university, Iso began working as an animator in the mid-1980s.[6]
He joined the 1988 film Mobile Suit Gundam: Char's Counterattack. He was credited as a key animator under both his real name and pen name Mikio Odagawa, and also served as mechanical animation director under the name Odagawa.[7][8][a]
The battle scene at the beginning of the 1989 OVAMobile Suit Gundam 0080: War in the Pocket made a strong impression on the anime industry and anime fans about Iso.[9][b]
The scenes Iso drew in what he called a 'full-limited' manner shocked animators of the time, so much so that a collection of copies of key animations was circulated.[11]
Director Fumihiko Takayama gave him the opportunity to do some niche design work, and he designed some of the mechanics and military equipment.[12]
Iso joined Roujin Z (1991), based on Katsuhiro Otomo's manga, as a mechanical animation director at the request of director Hiroyuki Kitakubo.[13][14]
However, he was not involved in the actual production as he was asked to participate in Only Yesterday at the meeting stage.[13]
He then only worked on additional designs at the request of Kitakubo.[13][15]
Iso joined the Neon Genesis Evangelion television series (1995-1996) and the film (1997).[1]
As an animator, he drew scenes for episodes 1[c] and 19[d] of the TV series, episode 21[e] of the video format version, and the movie The End of Evangelion[f] (episode 25 of the video version).[22][23]
He initially joined the project as an animator, but the storyline from the middle of the series onwards was largely undefined at that point. So he came up with various plots and ideas and proposed them to director Hideaki Anno.[22][24][25]
His plot for episode 13 was then adopted, and he co-wrote the script with Anno and screenwriter Akio Satsukawa.[26][g]
Iso also created the supplementary settings for episodes 13 and 15, including the design of Lilith and Seele marks, rough sketches of underground facilities, etc.[22][24][27]
Apart from those, Iso also provided settings and ideas for the entire series, albeit uncredited, and many of the dialogues and plots he created were used in the middle and later episodes of the TV series.[1][22][24][h]
Iso's idea for the plot of the last episode was not adopted, so he diverted part of it to the final episode of Den-noh Coil.[29][30][i]
In Ghost in the Shell (1995), he not only drew the key animations, but also designed all the firearms.[2][j]
As an animator, Iso was in charge of the shoot-out at the museum between the main character Motoko Kusanagi and the multi-legged tank.[4] In order to draw the spider-like tank, he actually captured a live spider and placed it in a beaker to observe its complex leg movements, centre of gravity shifts and other behaviour all day.[21] The layouts were filled with detailed explanations, instructions and requests to the art direction, and sometimes this was not enough, so he went directly to the art director for explanations and meetings.
In FLCL (2000), he drew the key animations. He worked with director Kazuya Tsurumaki for about six months on a preliminary project, titled Furi Chiru. Some of his ideas were adopted, but the project itself was never realised. This is because Iso created most of the settings and storylines, although Tsurumaki came up with the terminology and character names.[26][32]
Iso joined Blood: The Last Vampire (2000), which marked the beginning of the trend towards digital animation production in Japan.[33] He worked in visual effects as well as key animation.[23]
He negotiated directly with director Hiroyuki Kitakubo and accepted the key animation on condition that he would handle the entire process, including visual effects and cinematography (digital compositing). He then completed all of his own keyframe parts using self-taught After Effects.[1][14][23][k]
Director Quentin Tarantino made a live-action film Kill Bill: Volume 1 (2003), inspired by this work, and asked Production I.G to produce the animated inserts, which Iso also participated in.[2][34][35]
In RahXephon (2002), Iso worked as Digital Works and cinematographer positions throughout this television series.[1][36]
As for Digital Works, he retouched key animations and art with special effects and computer graphics.[4][23]
As a cinematographer, he prepared samples of images in advance and coordinated between the episode directors and the cinematography studio.[37]
In episode 15 (The Children's Night), he wrote the script, storyboarded, and directed, and was also in charge of some of the drawing and cinematography, overseeing a cross-section of jobs that were originally divided.[1][24][l]
This was the first time he had worked on storyboarding and directing,[2] and this process was like making a whole short film.[24][38]
He decided to join the work on the condition that he would work on an entire episode by himself.[39]
In 2007, Iso directed his first animated television series, Dennō Coil.[40]
He wrote the original story and the screenplay for all the episodes, and won the Nihon SF Taisho Award and the Seiun Award as a science fiction writer.[1][41]
The work depicts everyday life in the near future, when wearable devices called Dennō Glasses have become widespread, and has had a profound influence on later XR technicians and artists.[3]
The project had been in the pipeline since around 2000 and finally came to fruition after seven years with the cooperation of producer Sanae Mitsugi of Tokuma Shoten and producer Masao Maruyama of Madhouse (at the time).[5][42]
In 2016, he gave a presentation introducing his original animation projects Les pirates de la Réunion et les dodos (レユニオンの海賊とドードー鳥, Re-Yunion no Kaizoku to DōDō-dori, lit. The Pirates of the Reunion and the Dodos) and The Orbital Children (地球外少年少女, Chikyūgai Shōnen Shōjo, lit. Extraterrestrial Boys and Girls) in a series in an anime magazine. In the same year, Iso and French animation studio yapiko animation announced at Japan Expo 2016 that they would jointly produce Les Pirates de la Reunion Le Reveil des dodos.[43]
However, the project has been put on hold because The Orbital Children project preceded this one.[44]
Iso announced the production of The Orbital Children in 2018, and began full-scale production of the film in 2020.[45]The Orbital Children was released exclusively worldwide on Netflix on 20 January 2022, and was released in theatres in Japan as a two-part film, the first part on the same day as Netflix and the second part on 11 February 2022.[46]
He wrote the original story and screenplay for the work, and directed it. He is also credited for the cinematography.[47]Kenichi Yoshida was brought on as character designer and Toshiyuki Inoue as main animator.
Style
As an animator
Mitsuo Iso is known for his jerky yet detailed animation, full of dense sophisticated motion. He refers to his own style as "full limited". In traditional animation, animation with a drawing count below one drawing every two frames (or "on twos") is considered limited animation. Mixing twos, threes and fours in a balanced form of timing, Iso draws every keyframe without passing his work to an in-betweener, allowing him full control to create the most detailed motion possible with a balanced and efficient number of drawings, hence the term "full limited".[48][49]
Iso's idea of "full limited" is a method for controlling the image from the animator's standpoint, and he has the calculation that if he draws everything in key animation, the timesheets will not be modified by the director.[50]
Iso is one of the animators who played a central role in the movement from the late 1980s to the 1990s, when the expression of "realistic" animation matured in the Japanese animation industry.[9][51]
He has changed the technique of animation and has done so many times.[52]
His thoroughgoing style of painting has won him high praise not only from anime fans, but also from fellow animators.[11][53][54][55]
He has pioneered new expressions in animation with movements that give a sense of the mass and inertia of objects, and effects such as explosions, smoke and flames, and has influenced many creators.[56][57]
The methods of depicting clods of earth, rocks and other debris as a coherent mass, or depicting explosions as moving in three dimensions, were copied by everyone and became the industry standard.[54]
His drawings are very realistic and photorealistic, and the reality of his movements comes from his thorough, scientific observation. His drawing philosophy of building up a series of possible phenomena on the screen had a major influence on later realistic drawing.[58]
On the other hand, he has never abandoned the appeal of animation, such as entertainment and showiness.[58]
Under directors with varied artistic backgrounds, including Hayao Miyazaki, Isao Takahata, Yoshiyuki Tomino, Hideaki Anno, Satoshi Kon and Katsuhiro Otomo, Iso has worked not only as a key animator but also in various positions, including animation director, scriptwriter, mechanical and firearms designer, digital works, setting development and visual effects.[5]
What distinguishes him as an animator is his willingness to go beyond the confines of his section, which has allowed him to pioneer a new expression of animation.[59]
He has covered a wide variety of genres and professions, and has demonstrated his talent in each of them.[39]
Since the production site of commercial animation is a race against time, the division of labor is common, with each process divided into smaller sections and job categories defined so as not to encroach on each other's job areas. However, he believes that being aware of the processes before and after the work enhances the overall quality of the work, so he crosses sectional boundaries and is involved in every step of the process, from scriptwriting and storyboarding to layout and drawing, to ensure the work is completed as he wants it to be.[4][60][61]
Iso has a consistent orientation of wanting to dig deep and touch something that lies at the root of a work, even if it is someone else's work. This is in line with his orientation as an animator to deconstruct the principles of movement. The visual image that integrates the world view, setting, design, drawing, and cinematography of the work was already in his mind when he was working on other directors' works. On the other hand, he has too many things he wants to do to fit in one staff member and tends to make other directors' work his own.[24]
Every time Iso makes a new work, he takes on a new role other than animator, such as screenplay for Evangelion, cinematographer for Blood: The Last Vampire, and direction for RahXephon, new techniques such as digital animation, computer graphics, and special effects, new drawing tools and software.[23]
He was one of the first animators to actively adopt digital technology, and when the animation production system shifted from analogue to digital, he even began to work with cinematography.[60][62]
As digital animation became mainstream, his methods had a significant impact on many animators, especially those who were presenting their work privately on the internet.[50][63]
The reason why he finally worked on cinematography[m] is because animators can only leave the rest to the post-process once they have finished drawing with black and white lines, but if they work on cinematography, they can complete the scene by themselves.[50]
All hand-held shooting-style shaky camerawork[n] is determined by Iso. He used to write the scales on paper and hand them over to the cinematographer during the analogue animation era, but after digital animation he controls them himself in After Effects.[65]
As a director
Iso is a director who can create all the ideas for producing an animation work by himself, including visual aspects such as character, mechanic and prop design.[60]
He is involved in almost every step of the director's work, including the original, and controls everything himself.[1][4][47]
This production style is rare in Japanese animation, especially in TV animation, and is similar to Hayao Miyazaki's Future Boy Conan in terms of consistency from script and storyboard to layout and drawing, and to Makoto Shinkai's personal work Voices of a Distant Star from his indie days in terms of comprehensiveness with the addition of cinematography.[21]
Even in music production, he repeatedly discusses with the composers of theme songs and soundtracks until he is satisfied.[66]
Unlike when working as an animator, Iso focuses more on dialogue and story development and does not try to move the animation too much.[21][67]
Iso makes as many variations of the story as possible when creating original works. The number of drafts reached 30 for Dennō Coil and 100 for The Orbital Children. By writing different patterns of plots and examining them all, he explores storylines he had not thought of and decides whether they are interesting enough for him as an audience.[61][68]
Iso controls the footage in the final production process, cinematography[m], to ensure perfection.[4][47]
He controls all final footage through digital compositing work in After Effects, which includes not only the compositing of the video material but also directorial decisions such as adding effects and adjusting key animations.[69]
Iso, Mitsuo (September 19, 2017). 磯光雄 ANIMATION WORKS vol.1 [Iso Mitsuo ANIMATION WORKS vol.1] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-80-213072-1.
Iso, Mitsuo (February 20, 2018). 磯光雄 ANIMATION WORKS vol.2 [Iso Mitsuo ANIMATION WORKS vol.2] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-80-213089-9.
Iso, Mitsuo (August 29, 2023). 磯光雄 ANIMATION WORKS preproduction [Iso Mitsuo ANIMATION WORKS preproduction] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-80-213353-1.
Iso, Mitsuo (July 1, 2008). 電脳コイル ビジュアルコレクション [Den-noh Coil Visual Collection] (in Japanese) (1st ed.). Tokyo, Japan: Tokuma Shoten. ISBN978-4-19-720256-0.
Iso, Mitsuo (October 31, 2008). 電脳コイル 企画書 [Den-noh Coil Proposal] (in Japanese) (1st ed.). Tokyo, Japan: Tokuma Shoten. ISBN978-4-19-862613-6.
Iso, Mitsuo (September 5, 2018). 電脳コイル アーカイブス [Den-noh Coil Archives] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-90-294824-0.
Iso, Mitsuo; Yoshida, Kenichi (January 28, 2022). 地球外少年少女 設定資料集 [The Orbital Children Design Works] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-80-219351-1.
Iso, Mitsuo; Yoshida, Kenichi (January 28, 2022). 地球外少年少女 ビジュアルアーカイブス [The Orbital Children Visual Archives] (in Japanese) (1st ed.). Tokyo, Japan: Style. ISBN978-4-80-219350-4.
Iso, Mitsuo (August 31, 2022). 地球外少年少女プロダクションノート [The Orbital Children Production Notes] (in Japanese) (1st ed.). Tokyo, Japan: Ichijinsha. ISBN978-4-80-213353-1.
^He was offered the job directly by the animation studioSunrise because of his past participation in the Gundam TV series, and he initially worked without going through his studio at the time, Zaendo. However, he was then asked by Sunrise to act as an intermediary for job offers to the company, and worked under his real name as a job through the company. As a result, he ended up working under both a pen name and his real name.
^Until then, mobile suits (giant humanoid robots) had mostly been depicted as costumed humans or as a whole mass. However, Iso thought that if the robot's torso was a machine, it needed to be separated from the skeleton (chassis), so he drew it so that its materials and structure could be imagined. He then used camera angles that made the viewer look far up into the sky to show the horror of the giant weapon.[4] He also carefully picked up every detail of secondary effects, such as air resistance during missile launch and vehicles floating in the blast, to create realistic combat scenes.[10] In this work, an explosion effect called "Iso Explosion" is noticeable.[9]
^The urban battle between Sachiel and the UN forces.
^The battle between EVA Unit-02 and EVA Mass Production Units. He drew the scene with thorough attention to the basis of the movement, such as the hardness of the scaffolding and the weight of the handheld weapons, and also added various innovations, such as shooting handheld camera style with blurring and shaking to move the viewpoint.[21]
^Iso's first draft was too long, so Satsukawa summarized it, and director Anno made some changes.[22] The ending of the final draft was somewhat disappointing for Iso, as Anno used an idea that Iso had intended to use in another episode as a punchline.[24]
^Apart from the script for episode 13, what was adopted for the series was the story line from the middle to episode 19, the plot of the first half of episode 22 and episode 24, and detailed ideas for each episode.
The film accepted scenes of the Self-Defence Forces fighting Evangelion.[28]
^Iso's proposed storyline up to the final episode was that Asuka's (or Rei's) Evangelion explodes, 12 angels descend on NERV headquarters, Shinji and Gendo head to the ancient ruins beneath the headquarters in their respective Evangelions, where they meet Yui again, and finally Shinji dives inside the Evangelion and revives Asuka (or Rei), who has lost her physical body and fused with her Evangelion.
^Oshii saw Iso's past work and mistook him for a gun enthusiast and approached him. However, he actually did not have a very good image of guns and did not know the basics, so he studied guns anew.[31]
^This was thanks to Production I.G.'s introduction of computers in the studio, which enabled the key animators themselves to add special effects to the keyframes, a task previously left to the cinematographer.[9]
^ abThe term Cinematography is a vestige of the cel animation era. Today, it refers to the process of importing video material produced by each section into a computer and compositing it, rather than filming with a camera. It is also called digital compositing.[47]
^He himself says that he does not draw the images as an imitation of hand-held filming, but rather as eye movements that reflect human consciousness.[64]
^ abc"『電脳コイル』の監督、磯光雄氏がXRコンテンツアワード「NEWVIEW AWARDS 2021」の審査員に決定" [Mitsuo Iso, director of Dennō Coil, has been selected as a judge for the XR Content Awards NEWVIEW AWARDS 2021.]. Real Sound (in Japanese). blueprint. October 9, 2021. Retrieved October 12, 2021.
^"物語という嘘で真実に近づく 『電脳コイル』で日本SF大賞 磯 光雄さん（アニメ監督）" [Approaching the truth through the lie of storytelling, Winner of the Japan Science Fiction Grand Prize for Dennou Coil, Mitsuo Iso (animation director)]. Tokyo Shimbun (in Japanese). 20 December 2008. Archived from the original on 21 January 2009. Retrieved 30 November 2023.
^"封入特典「逆襲のシャア ドキュメントコレクション」収録インタビュー冒頭公開" [The first part of an interview included in the 'Char's Counterattack Document Collection' is now available]. Mobile Suit Gundam: Char's Counterattack official website (in Japanese). Sunrise. September 11, 2015. Retrieved October 17, 2021.
^ ab"animator interview 橋本敬史 (4)『エヴァンゲリオン』と磯光雄ショック" [animator interview Takashi Hashimoto (4) "Evangelion" and Mitsuo Iso shock]. WEB Anime Style (in Japanese). Style. January 8, 2009. Retrieved October 17, 2021.
^"電脳コイル：宮崎、庵野に続く"新星"磯光雄が初監督 NHKの新オリジナルアニメ" [Dennō Coil: NHK's new original animation directed by "rising star" Mitsuo Iso for the first time, following in the footsteps of Miyazaki and Anno]. Mantan web (in Japanese). 12 April 2007. Archived from the original on 15 April 2007. Retrieved 30 November 2023.
^"磯光雄と吉田健一の宇宙の旅（後編） 井上俊之の戦車のような仕事ぶり、見た人の景色を変える磯監督" [Mitsuo Iso and Kenichi Yoshida's Space Odyssey (Part 1) Toshiyuki Inoue's tank-like work style, director Iso changing the scenery of the viewer (1)]. アニメハック. eiga.com. Retrieved November 19, 2023.
^"神アニメーター・井上俊之が考える"本当にすごいアニメーター"とは?" [What does master animator Toshiyuki Inoue consider a "truly great animator"?]. アニメ!アニメ! (in Japanese). IID, Inc. August 9, 2018. Retrieved October 17, 2021.
^"地球外少年少女：「電脳コイル」磯光雄監督が描く"ちょっと先の未来" キャラクターデザイン吉田健一の"うまみと毒"" [The Or-bital Children: The "future a little ahead" as depicted by "Den-noh Coil" director Mitsuo Iso, and the "umami and venom" of character designer Kenichi Yoshida.]. MANTANWEB (in Japanese). 22 January 2022. Retrieved 9 March 2024.
^"animator interview 井上俊之 (3)" [animator interview Toshiyuki Inoue (3)]. WEB Anime Style (in Japanese). Style. December 5, 2000. Retrieved October 17, 2021.
^ ab"もっとアニメを観よう 第5回 井上・今石・小黒座談会 (5)" [Let's watch more anime! Part 5: Inoue, Imaishi and Oguro roundtable discussion (5)]. WEB Anime Style (in Japanese). Style. July 19, 2002. Retrieved February 17, 2024.
^"もう一度作ってみたい―「シン・エヴァンゲリオン劇場版」メカ作画監督・金世俊インタビュー" [I want to make it again - Interview with Kim Sejun, mechanical animation director for Shin Evangelion the Movie]. WebNewtype. KADOKAWA. May 17, 2021. Retrieved October 17, 2021.
^"地球外少年少女：磯光雄監督の魅力 天才的なアニメーター、エンターテイナー 井上俊之に聞く" [The Orbital Children: the fas-cination of director Mitsuo Iso, a genius animator and entertainer Interview with Toshiyuki Inoue]. MANTANWEB (in Japanese). 22 January 2022. Retrieved 9 March 2024.
^"磯光雄と吉田健一の宇宙の旅（後編） 井上俊之の戦車のような仕事ぶり、見た人の景色を変える磯監督 (2)" [Mitsuo Iso and Kenichi Yoshida's Space Odyssey (Part 2) Toshiyuki Inoue's tank-like work style, director Iso changing the scenery of the viewer (2)]. アニメハック (in Japanese). eiga.com. 17 October 2021. Retrieved 9 March 2024.
^ ab"地球外少年少女：究極を探し求める磯光雄監督 5年でシナリオ100稿 制作の裏側" [The Orbital Children: director Mitsuo Iso in search of the ultimate, 100 drafts of scenarios in 5 years behind the scenes of production]. Mantan web (in Japanese). 5 February 2022. Retrieved 1 December 2023.
^Numakura, Arihito (22 July 2022). "既成概念を打破する"Blender"作画という挑戦。磯光雄監督作『地球外少年少女』" [The challenge of "Blender" drawing that breaks through stereotypes. The Orbital Children, directed by Mitsuo Iso]. Vook (in Japanese). Retrieved 9 March 2024.
^磯光雄IsoMitsuo [@IsoMitsuo] (13 September 2022). "自分では" [On my own...] (Tweet) (in Japanese). Retrieved 18 February 2024 – via Twitter.
^磯光雄IsoMitsuo [@IsoMitsuo] (13 September 2022). "手ブレカメラワーク" [Shaky camera work] (Tweet) (in Japanese). Retrieved 18 February 2024 – via Twitter.
^"制作期間3年超! 作曲家・石塚玲依が語る「地球外少年少女」サウンドトラックができるまで" [Over three years in the making! Composer Leo Ishizuka talks about how The Orbital Children soundtrack was created]. Akiba Soken (in Japanese). Kakaku.com. 26 January 2022. Retrieved 1 December 2023.
^"磯光雄監督作『地球外少年少女』 効率性やシステムのためにつくるのではなく、"作品のためにつくる"ことを徹底。" [The Orbital Children, directed by Mitsuo Iso. Tthey ensure that they do not make films for the sake of efficiency or systems, but for the sake of the work]. Vook. 29 July 2022. Retrieved 9 March 2024.
References
"『電脳コイル』 磯光雄の世界" [The World of Mitsuo Iso in "Den-noh Coil"]. The 2008 February issue of Animage (in Japanese). Vol. 31, no. 2. Tokyo, Japan: Tokuma Shoten. January 10, 2008.
"特集 アニメーションの創造力PART2 革新を支える制作技術 磯光雄×山下清悟" [Special The Creative Power of Animation Part 2 Production technology supporting innovation Mitsuo Iso × Seigo Yamashita]. The 2020 February issue of Bijutsu Techo (in Japanese). Tokyo, Japan: Bijutsu Shuppan-Sha, Ltd. January 7, 2020.
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French musician and actor (1928–1991) Gainsbourg redirects here. For his daughter, the actress, see Charlotte Gainsbourg. For the 2010 biopic, see Gainsbourg: A Heroic Life. For the Paris Métro station, see Serge Gainsbourg (Paris Métro). Serge GainsbourgGainsbourg in 1981BornLucien Ginsburg(1928-04-02)2 April 1928Paris, FranceDied2 March 1991(1991-03-02) (aged 62)Paris, FranceOther names Julien Grix Gainsbarre Occupations Singer songwriter actor composer director author poet Ye...
2018 South Korean television series My Contracted Husband, Mr. OhPromotional posterAlso known asMy Husband, Mr.Oh!Hangul데릴남편 오작두Literal meaningMy Husband Oh Jak-dooRevised RomanizationDerillampyeon O Jak-du GenreMelodramaWritten byYoo Yoon-kyungDirected byBaek Ho-minStarringKim Kang-wooUeeJung Sang-hoonHan Sun-hwaCountry of originSouth KoreaOriginal languageKoreanNo. of episodes24[a]ProductionExecutive producersKim Hee-yeolJun SanRunning time70 minutes[a]Producti...
Eastney Barracks Eastney, Hampshire Gunners Row - the former barracksEastney BarracksLocation within HampshireCoordinates50°47′08″N 1°03′17″W / 50.7855°N 1.0547°W / 50.7855; -1.0547TypeRoyal Marines BaseSite historyBuilt1867Built forAdmiraltyIn use1867-1995Garrison informationOccupantsPortsmouth Division, Royal Marines Eastney Barracks was a military installation occupied by the Royal Marines and located at Eastney near Portsmouth. History Eastney...
Chinese singer and actress In this Chinese name, the family name is Song. Victoria Song宋茜Song in 2017BornSong Qian (宋茜) (1987-02-02) February 2, 1987 (age 36)[1]Qingdao, Shandong, ChinaOccupationsSingerdanceractressmodelhostauthorYears active2008–presentAgentVictoria StudioMusical careerGenresK-popMandopopR&BEDMInstrumentsVocalsLabelsSMMember off(x) Musical artistChinese nameChinese宋茜TranscriptionsStandard MandarinHanyu PinyinSòng QiànYue: CantoneseJyutpi...
For other uses, see RTL and Radio Luxemburg. Radio station in ParisRTLParisBroadcast areaFranceLuxembourgBelgiumElsewhere in Europe and North Africa (on LW and Satellite)FrequencyFM:104.3 MHz (Paris) 101.4 MHz (Marseille) 105.0 MHz (Lyon) Full list of frequencies on FM in other areasProgrammingLanguage(s)FrenchFormatNews, TalkOwnershipOwnerRTL GroupSister stationsFun RadioRTL2RTL-L'ÉquipeHistoryFirst air date15 March 1933 (1933-03-15)Former call signsRadio Luxem...
Browser/mobile game 2016 video gameSlither.ioDeveloper(s)Steve HowsePlatform(s)Browser, iOS, AndroidReleaseBrowser, iOS March 25, 2016 AndroidMarch 27, 2016Genre(s)CasualMode(s)Multiplayer, Single-player Slither.io[a] (stylized as slither.io) is a multiplayer online video game available for iOS, Android, and web browsers, developed by Steve Howse. Players control an avatar resembling a snake, which consumes multi-colored pellets, both from other players and ones that naturally spawn o...
British Army general (1893–1993) Sir Philip Christison, 4th BaronetNickname(s)Christie[1]Born(1893-11-17)17 November 1893Edinburgh, ScotlandDied21 December 1993(1993-12-21) (aged 100)Melrose, Roxburghshire, ScotlandBuriedHoly Trinity Church, Melrose, ScotlandAllegianceUnited KingdomService/branchBritish ArmyYears of service1914–1949RankGeneralService number9487UnitQueen's Own Cameron HighlandersDuke of Wellington's RegimentCommands heldScottish Command (1947–49)Norther...
Tay Head pebble beach Tay Head (63°21′S 55°34′W / 63.350°S 55.567°W / -63.350; -55.567) is a rocky headland 6 nautical miles (11 km) east of Mount Alexander, extending into the Firth of Tay on the south coast of Joinville Island. The name, given by the United Kingdom Antarctic Place-Names Committee (UK-APC) in 1963, is derived from the Firth of Tay in Scotland. Geography Tay Head is pebble spit or tombolo jutting southward from Joinville Island. The parall...
President of theCentral African RepublicPrésident de laRépublique centrafricainePresidential standardIncumbentFaustin-Archange Touadérasince 30 March 2016ResidenceRenaissance Palace, BanguiSeatBanguiTerm lengthFive years, renewable once (before 2023)Inaugural holderDavid DackoFormation12 December 196021 September 1979 (office reestablished)SalaryEUR €3,049 per month[1] Politics of the Central African Republic Constitution Human rights LGBT rights Government President Faustin...
Raphael Schäfer Datos personalesNacimiento Kędzierzyn-Koźle, Polonia30 de enero de 1979 (44 años)Nacionalidad(es) Altura 1,90 metrosCarrera deportivaDeporte FútbolClub profesionalDebut deportivo 1996(Hannover 96)Posición PorteroRetirada deportiva 2017[editar datos en Wikidata] Raphael Schäfer (Kędzierzyn-Koźle, Polonia, nació el 30 de enero de 1979) es un exfutbolista alemán. Jugaba de portero. Clubes Club País Año Hannover 96 Alemania Alemania 1996-1998 VfB L...
Australian rugby league club, based in Wollongong, NSW Shellharbour City Sharks RLFCClub informationFull nameShellharbour City Sharks RLFCColours Maroon GoldFounded1920; 103 years ago (1920)Current detailsGround(s)Ron Costello OvalChairmanAllan CodyCoachAbed AtallahCaptainJames RalphsRecordsPremierships6 (1939, 1962, 1971, 1973, 2001, 2018) The Shellharbour City Sharks are a Country Rugby League club founded in 1920 located on the South Coast of NSW that compete...
Jeździec polski - Rembrandt Dosiad niezależny - sposób, w jaki jeździec utrzymuje równowagę na poruszającym się koniu, niezależnie od jego zachowania[1]. Przypisy ↑ konie [1] Linki zewnętrzne Dosiad [2]
