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Babs Technologies 7

Dan Hicks as Skip Altwater, his left leg is false (making it ideal for concealing weapons). He's last seen during the attack on Darkman's lair - while abducting Julie - and doesn't appear for the rest of the film. A cut/deleted scene shows Darkman killing Skip with his own prosthetic leg.

Dan Hicks bi Skip Altwater, ẹsẹ ọ̀tun rẹ̀ ko ṣe ẹ̀jẹ̀ (ẹni tó ń ṣe àṣẹ fún ẹ̀jẹ̀). A rí i lẹ́yìn nígbà tí wọ́n ń bá ilé Darkman jẹ́ - nígbà tí wọ́n ń mú Julie - ó sì kò hàn fún àkọ́kọ́ fíìmù. Ìfọ̀rọ̀wánilẹ́nà kan tọ́ ń ṣe àfihàn Darkman pa Skip pẹ̀lú ẹsẹ ọ̀tun rẹ̀.

Rafael H. Robledo as Rudy Guzman, a collaborator of Durant's, who seems to despise Durant, calling Durant a "son of a [bitch]". He is killed by Smiley when a shackled and gagged Guzman runs into him wearing a Westlake mask underneath a Smiley mask, tricking Smiley into shooting Guzman.

Rafael H. Robledo gẹgẹ bi Rudy Guzman, ọlọpa Durant, ti o baamu pe o feran Durant, o pe Durant "ọmọ ọran [bitch]". Smiley pa a lẹyin ti Guzman ti o jẹ shackled ati gagged, o wa lọ si Smiley pẹlu Westlake mask lọdọ Smiley mask, o si mu Smiley gba ọja Guzman.

Dan Bell as Sam "Smiley" Rogers, a henchman of Durant's who laughs like a hyena, he is the most ruthless of Durant's collaborators. He is killed after Darkman recreated the same drinking bird triggered gas explosion that mutilated Peyton.

Dan Bell gege bi Sam "Smiley" Rogers, ọmọ ẹgbẹ́ Durant ti o n ri bi ẹni ọ̀sẹ̀, o si n ku lẹyin ti Darkman ṣe atunṣe ọna ti ọna ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ̀sẹ̀ ti o ṣe igi ọ

Additionally, Raimi's brother Ivan and director John Landis have cameos as hospital staff, while Jenny Agutter plays the doctor treating Westlake's burns. Neal McDonough, William Lustig, Scott Spiegel and Stuart Cornfeld portray dockworkers. Other appearances include Joel and Ethan Coen as the driver and passenger in an Oldsmobile, Professor Toru Tanaka and Nathan Jung as Hung Fat's Chinese Warriors, and Julius Harris as the Gravedigger. In the final scene of the film, Campbell portrays the disguised Darkman as he flees, credited as "Final Shemp".

Nigba to yi, arakunrin Raimi Ivan ati oludari John Landis wa ni ipa gẹgẹbi aṣẹṣẹ ilera, nigba ti Jenny Agutter ṣe dọkita ti n ṣe agogo fun Westlake. Neal McDonough, William Lustig, Scott Spiegel ati Stuart Cornfeld ṣe awọn ọṣọ ilẹ. Awọn ipa miiran ni Joel ati Ethan Coen gẹgẹbi oluwọ ati oluwọ ni Oldsmobile, Professor Toru Tanaka ati Nathan Jung gẹgẹbi Chinese Warriors Hung Fat, ati Julius Harris gẹgẹbi Gravedigger. Ni ipari filmu, Campbell ṣe Darkman ti a ṣe agogo gẹgẹbi o ti gbe, ti a ṣe "Final Shemp".

The idea for Darkman developed from a short story Raimi had written about a man who could change his face. The story drew elements from The Phantom of the Opera, The Elephant Man, and The Shadow (Raimi had previously sought the film rights to The Shadow or Batman; when rejected, he decided to write his own superhero). Raimi was also inspired by the Universal horror films of the 1930s and 1940s because "they made me fear the hideous nature of the hero and at the same time drew me to him. I went back to that idea of the man who is noble and turns into a monster". He originally wrote a 30-page short story, titled "The Darkman", and then developed into a 40-page treatment. At this point, according to Raimi, "it became the story of a man who had lost his face and had to take on other faces, a man who battled criminals using this power". It also became more of a tragic love story in the tradition of The Hunchback of Notre Dame. In 1987, Raimi submitted the treatment to Universal Pictures which they liked, green-lighted a budget in the range of $8–12 million, and suggested that he get a screenwriter to flesh out the story.

Oro fun Darkman se pataki lati inu itan kẹẹ̀kọ̀ọ̀ kan ti Raimi ti kọ ni ipa eni to le yi oju re. Itan naa gbe awọn ẹya lati The Phantom of the Opera, The Elephant Man, ati The Shadow (Raimi ti feyinti fun ẹtọ film fun The Shadow tabi Batman; nigba ti a pa rẹ, o gbeja lati kọ superhero re). Raimi tun gbe awọn ẹya lati awọn film horror ti Universal ti 1930s ati 1940s nigba ti "wọn mu mi lọ si oju buruku ti hero ati nigba kan naa wọn mu mi lọ si ẹ". O kọ itan kẹẹ̀kọ̀ọ̀ kan ti oju-iwe 30, ti a pe "The Darkman", ati lẹhinna o gbe e di itan kẹẹ̀kọ̀ọ̀ ti oju-iwe 40. Ni ibi yii, gẹgẹ bi Raimi ti se, "o di itan eni ti o ti pa oju re ati ti o ni lati gbe oju miiran, eni ti o ja awọn ẹṣẹ fun ipa yii". O tun di itan ifẹ ti o buru si The Hunchback of Notre Dame. Ni 1987, Raimi fun itan kẹẹ̀kọ̀ọ̀ na si Universal Pictures ti wọn fe, wọn fun owọ lati gbeja owọ lati $8–12 million, ati wọn ni ki o gbeja akọwe itan lati gbe itan naa.

The more Raimi worked, the more Darkman became a crime-fighting figure like Batman, "a non-superpowered man who, here, is a hideous thing who fights crime. As he became that hideous thing, it became more like The Phantom of the Opera, the creature who wants the girl but who was too much of a beast to have her", according to Raimi. The process of developing his treatment into a screenplay was difficult with Raimi hiring ex-Navy SEAL Chuck Pfarrer based on his work on Navy SEALs. He wrote the first draft and then Raimi's brother, Ivan (a doctor), wrote drafts two through four with Sam. Ivan made sure that the medical aspects and scientific elements were authentic as possible given the nature of the story.

Bí Raimi ṣe pàtàkì, Darkman di olori ọlọla ti o ṣe aṣẹju ẹgbẹẹgbẹrún bí Batman, "ọkunrin ti kò ní agbára àjise, ti o ṣe ohun burúkú ti o ṣe aṣẹju ẹgbẹẹgbẹrún". Gẹgẹbi o ti di ohun burúkú na, o di ọ̀kan bí The Phantom of the Opera, ohun ti o fẹ ọmọbìnrin kọ̀ọ̀kan ṣugbọn ti o jẹ ohun burúkú ju ti o le e ni, gẹgẹbi Raimi ṣe sọ. Ìṣe àgbéjáde àṣẹ àti àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ àṣẹ à

As Raimi and his producing partner Robert Tapert progressed through various drafts, they realized they had a potential franchise on their hands. Universal brought in screenwriting brothers Daniel and Joshua Goldin to work on the script. According to Daniel, they were presented with various drafts and "lots of little story documents. There was just material everywhere; drafts seemed to go in many directions". Goldin said that they "spent a lot of time talking and pulling together a way of making the story work. I think that mostly we talked in terms of the nuts and bolts of the story". The Goldins added new lines of dialogue, new characters and bits of action. The studio still wasn't satisfied, so the Raimi brothers wrote drafts six through twelve before they had a shooting script. Raimi wanted to emphasize Peyton/Darkman's arc over the course of the film, saying, "I decided to explore a man's soul. In the beginning, a sympathetic, sincere man. In the middle, a vengeful man committing heinous acts against his enemies. And in the end, a man full of self-hatred for what he's become, who must drift off into the night, into a world apart from everyone he knows and all the things he loves".

Gẹgẹ bi Raimi ati oluṣe rẹ, Robert Tapert, ti ṣe iranṣẹ lori awọn akọsilẹ, wọn ri pe wọn ni franchise ti o le ṣe iranṣẹ lori ọwọ wọn. Universal mu awọn ọmọ ẹgbẹ akọsilẹ, Daniel ati Joshua Goldin, wa lati ṣe iranṣẹ lori akọsilẹ. Gẹgẹ bi Daniel, wọn jẹ ki wọn mu awọn akọsilẹ ati "awọn iwe itan kekere pọpọ. O jẹ ki wọn mu iwe pọpọ; awọn akọsilẹ ṣe bi wọn ti ń lọ ni ọna pọpọ". Goldin sọ pe wọn "ṣe igba pọpọ ni ọrọ ati ni ọna kan ti ṣe itan naa ṣe ṣe. Mo rii pe kiakia, a sọ ni ọrọ awọn ohun ti o ṣe itan". Awọn Goldin fẹ awọn ọrọ ọlọhun tuntun, awọn ọmọ tuntun ati awọn ọrọ aṣẹ. Igbimọ ṣe ṣe rẹ, ṣugbọn awọn ọmọ Raimi kọ awọn akọsilẹ mẹfa titi mẹwaa ṣaaju ki wọn mu akọsilẹ ti a ṣe. Raimi fẹ ṣe apejuwe Peyton/Darkman lori akoko filmu, sọ, "Mo ṣe idaniloju ọkan ninu ẹda eniyan. Ni ibẹrẹ, ọkan ti o fẹrẹ, ti o ṣe otitọ. Ni ọna, ọkan ti o ń ṣe ohun buburu pẹlu awọn ọta. Ati ni ẹẹkẹẹ, ọkan ti o ni ojiji ọkan rẹ fun ohun ti o ti ṣe, ti o ṣe lati ṣe irinṣẹ ni ọjọ, ni aye ti o ṣe pẹlu gbogbo eniyan ti o mọ ati awọn ohun ti o fẹrẹ".

Working with Universal meant a significant budgetary increase for Raimi, allowing him to design and build a laboratory set for Darkman and afford helicopters and professional stuntmen to film the climactic helicopter chase through the city. He was eventually given $14 million to work with, including a longer schedule and much more effects work.

Iṣẹ pẹlu Universal jẹ akiyesi ipo owó pataki fun Raimi, e sọ ọ pẹlu lati ṣe atẹjade ati ṣe agboṣe fun Darkman ati lati rọra elikopta ati awọn ọlọpa ọkọ ayọkẹlẹ pẹlu ẹgbẹ ọlọpa ọkọ ayọkẹlẹ lati ṣe ifilọlẹ elikopta ni ilu. O jẹ akiyesi $14 million lati ṣe iṣẹ pẹlu, pẹlu akoko pẹlu ati awọn iṣẹ ipa pẹlu.

Visually, the filmmaker was interested in paying homage to Universal horror films of the 1930s. Production designer Randy Ser remarked, "if you look at Darkman's lab that he moves into, which is an old warehouse, what was on my mind was Dr. Frankenstein. There were a number of references visually to what we were thinking about in regards to those films". Raimi consciously wanted to tone down his style because of a desire to "get into the characters' heads and follow them as real human beings in extraordinary circumstances".

Ninu oju-ọjọ, oludari fiimu naa nwa lati ṣe idanimọ si fiimu horror ti Universal ti ọdun 1930. Oludari ẹrọ Randy Ser sọ, "ti o ba wo labu Darkman ti o gbe si, ti o jẹ ile-ẹja ti o kọja, eyi ti nwa lori ọkan mi ni Dr. Frankenstein. O wa awọn akọsilẹ ọpọlọpọ ninu ẹrọ si eyi ti a nwa lori nipa fiimu wọn". Raimi nwa lati ṣe aṣẹ rẹ ni ọna ti o dara ju, nitori ifẹ rẹ lati "de inu awọn ọmọ-ọmọ na lati ba wọn bi awọn ẹni ti o dara ni ipo ti o ṣe pataki".

McDormand and Neeson worked closely in rehearsals, rewriting the three love scenes they had together after he becomes Darkman. They got through these scenes, according to the actress, by depending on "each other's knowledge, of theater and each other".

McDormand ati Neeson ṣe iranlowo nipa atunṣe, ṣe atunṣe awọn aṣẹ ifẹ mẹta ti wọn ti pọ pẹlu lẹyin ti o di Darkman. Wọn jade ninu awọn aṣẹ yii, gẹgẹbi ti obinrin naa, ni pẹlu "imọra ara wọn, ti theater ati ara wọn".

Principal photography began on April 19, 1989 and wrapped on August 10, 1989, the film was shot on location in Los Angeles and Toronto, Ontario, and at Santa Clarita Studios in Santa Clarita, California.

Ifihan akọkọ ti fiimu bẹrẹ ni Oṣu Afereẹn 19, 1989 ati ti pari ni Oṣu Awẹwo 10, 1989, fiimu naa ti jẹ ifihan ni ibi ni Los Angeles ati Toronto, Ontario, ati ni Santa Clarita Studios ni Santa Clarita, California.

Raimi said directing McDormand was "very difficult". Raimi said, "apparently I didn't know Fran as well as I thought I did ... The reason it was difficult was that our conception of the best movie to make differed, arguing in trying to make the best picture possible. We did come across disagreements, but they were very healthy".

Raimi sọ pé ìdarí McDormand jẹ "títẹ̀rí". Raimi sọ, "bẹ́ẹ̀ ni mo ṣe mọ Fran tóbi tó ń ṣe mọ ọ ... Nípa èyí o jẹ títẹ̀rí ni pé àwọn ìfẹ́ wa lọ́rọ̀ọ̀rọ̀ nínú kí a máa ṣe fíìmù tó dára jùlọ, a ń ṣe àwọn àṣẹ lọ́rọ̀ọ̀rọ̀ nínú kí a máa ṣe àwòrán tó dára jùlọ. A ṣe lọ́rọ̀ọ̀rọ̀, ṣùgbọ́n wọ́n jẹ àwọn àṣẹ alágbèṣe".

Durant's finger collection developed over the Pfarrer and Raimi brothers drafts. The director wanted a specific trademark for the character – one that hinted at a military background.

Iṣọwọ Durant ti o ṣẹda lori awọn aṣẹ Pfarrer ati Raimi ọmọ ẹgbẹ. Oludari fẹran ami ọrọkan ti o ṣe aṣẹṣe fun ọmọkunrin – ọkan ti o ṣe aṣẹṣe fun iṣẹgun.

Neeson worked in ten-piece prosthetic makeup, sometimes for 18 hours. He saw the lengthy time spent in extensive makeup as a challenge and liked "the idea of working behind a mask on camera, and just exploring the possibilities of what that entailed". He and makeup effects designer Tony Gardner did tests using specific glues, foams, and bandage coverings. They also timed how fast they could apply the prosthetic makeup and put the costume on. Neeson worked with the costume designer on his outfit, including aspects like the cloak. The hardest part for the actor was speaking with false teeth and he ended up doing "a lot of work on my voice – I didn't want the [false teeth] to move at all".

Neeson ṣisẹ ni awọn ọrọ ẹgbẹ mẹwa ti prosthetic makeup, ọ̀pọ̀lọpọ̀ fún wákàtí 18. O rí wákàtí pípẹ̀ tí ó ṣe nínú makeup tó pọ̀ sí iṣẹ́ kan, ó sì fẹ́ràn "ẹ̀rí ìṣẹ́ lẹ́yìn máskì lórí kamera, àti ṣíṣe àwọn ọ̀nà tó ṣe pọ̀ sí èyí". Ó àti oníṣẹ́ makeup effects Tony Gardner ṣe àjọṣepọ̀ lórí awọn glues, foams, àti bandage coverings. Wọ́n sì ṣe àjọṣepọ̀ lórí bí wọ́n ṣe lè fi awọn prosthetic makeup mú àti mú àwòrán rẹ̀. Neeson ṣisẹ pẹ̀lú oníṣẹ́ costume lórí àwòrán rẹ̀, pẹ̀lú àwọn ẹ̀rí bí cloak. Ọ̀kan tí ó ṣe jẹ́ kí ó máa sọ̀rọ̀ pẹ̀lú ẹyin àìtọ́ àti ó sì ṣe "ọ̀pọ̀lọpọ̀ iṣẹ́ lórí ohun mi – emi kò fẹ́ràn pé [ẹyin àìtọ́] máa máa yípadà".

Raimi and Tapert ran into conflicts with the studio during post-production. The director had a problem with the editor that the studio assigned him and eight weeks into assembling the rough cut, he was not following Raimi's storyboards. The editor had a nervous breakdown and left. Early preview screenings did not go well as people laughed in the wrong places and complained about a lack of a happy ending. Universal told Raimi that some people rated Darkman the worst film they had ever seen. According to executives, the film was one of the worst-scoring pictures in Universal's history. Then, two preview screenings, one with Danny Elfman's score, went well. Tapert remembers, "the experience on Darkman was very difficult for Sam and me; it isn't the picture we thought it should be, based on the footage we shot and all that. The studio got nervous about some kind of wild things in it, and made us take them out, which was unfortunate". Raimi did like the "brilliant" marketing campaign that the studio came up with, releasing posters in advance with a silhouette of the main character and the question, "Who is Darkman?" According to the director, "the marketing made the film a money-maker".

Raimi ati Tapert gba abajade pẹlu ẹgbẹ ilẹkunrin lori ayẹyẹ igbaniwo. Oludari naa ni aṣẹju ni pẹlu oluṣetoju ti ẹgbẹ ilẹkunrin fun ni ati lẹyin igba mẹjọ, o n gba awọn aworan Raimi. Oluṣetoju naa gba aisan ati o kuro. Awọn ayẹyẹ igbaniwo lọkọkọ kọja rara, gẹgẹ bi awọn eniyan gbe nnu si ibiti ti o ṣe pẹlu ati sọ pe ko si itẹsiwaju ti o dara. Universal sọ fún Raimi pe awọn eniyan kan ṣe pe Darkman jẹ fimu mọṣẹ ti wọn ti ri. Gẹgẹ bi awọn oludari, fimu naa jẹ ọkan ninu awọn fimu ti o ṣe pẹju ti Universal. Lẹyin naa, ayẹyẹ igbaniwo mẹjọ, ọkan pẹlu orin Danny Elfman, ṣe rara. Tapert ni, "ayẹyẹ lori Darkman jẹ aṣẹju fun Sam ati mi; ko si fimu ti a rii pe e yẹ ki o jẹ, lẹhin awọn fimu ti a ṣe ati bẹẹ bẹẹ. ẹgbẹ ilẹkunrin gba aisan lori awọn nkan agidi ti o wa ninu rẹ, ati mu wa jade, ti o ṣe aisan". Raimi fẹrẹ ṣe iranṣẹ "ti o dara" ti ẹgbẹ ilẹkunrin ṣe, ifilọlẹ awọn aṣẹṣẹ lẹhin, pẹlu awọn aworan ti o ṣe pẹlu ati ibeere, "Ta ni Darkman?" Gẹgẹ bi oludari, "ifilọlẹ ṣe fimu ṣe owó".

Released by MCA Records on August 17, 1990, the soundtrack to Darkman was composed by Danny Elfman, who previously scored the music to Tim Burton's Batman in 1989. In 2017, Waxwork Records released the soundtrack on vinyl which was remastered from the original tapes. La-La Land Records has released an expanded soundtrack album in January 2020, featuring over 30 minutes of previously unreleased music.

Ti a se aaro MCA Records ni Ojo 17, 1990, orin orisun Darkman je akorin Danny Elfman, to ti ko orin Tim Burton's Batman ni 1989. Ni 2017, Waxwork Records ti se orin orisun na vinyl ti a se lati tape ori. La-La Land Records ti se orin orisun ti a dagba ni Osun 2020, ti a se arojinle orin ti o to 30 minutes ti ko se jade to.

Elfman said of his score: "Again old-fashioned and melodramatic, but in a way that I'm crazy about. Sam Raimi has a wonderful visual style that lends itself easily to music. It was an enormous relief writing long, extended musical sequences, something which is very rare in modern films. No reason to hold back on this one".

Elfman sọ pe ọmọ ẹgbẹ rẹ: "Titun ti o jẹ aṣẹ ati melodramatic, ṣugbọn ninu ọna ti mo ṣe rere. Sam Raimi ni aṣẹ ifarahan ti o ṣe afẹde si orin. O jẹ akitiyan ti o tobi ni kọ orin pẹlu, eyi ti o ṣe oṣan lailai ni awọn fiimu tuntun. Ko si ẹjẹ ki a ma ṣe afikun ninu eyi".

Ads asking "Who is Darkman?" began appearing on bus benches, public transit, and television as early as June 1990. Universal VP of Media Vic Fondrk said that the studio did not want to spend much money promoting the film in advance, "but we wanted to create some intrigue for the Darkman character".

Àwọn ads tí ń béèrè "Tá ni Darkman?" bẹ̀rẹ̀ sí wà lórí àgọ́ àwọn oko ọ̀ṣẹ̀, ọkọ̀ ọ̀ṣẹ̀ àti tẹlifíṣọ̀nù láti ọ̀pọ̀lọpọ̀ June 1990. Universal VP ti Media Vic Fondrk sọ pé ẹgbẹ́ rẹ̀ kò fẹ́ fi owó púpọ̀ lọ́wọ́ láti ṣe àṣẹ́ àti àṣẹ́ fíìmù náà, "ṣùgbọ́n a fẹ́ ṣe àṣẹ́ àti àṣẹ́ fún Darkman".

In 1998, Darkman was released on DVD. Bonus material included production notes, cast & crew bios, and a trailer.

Ni ọdun 1998, Darkman jẹ ifilọlẹ lori DVD. Awọn ohun alẹmọọja tẹlẹ tẹlẹ ni awọn iwe aṣẹṣe, awọn akọọlẹ ẹgbẹ ati awọn trailer.

In 1999, The Return of Durant was released on DVD. Bonus material included production notes, cast & crew bios, a trailer, and web links.

Ni ọdun 1999, The Return of Durant ti jade lori DVD. Awọn ohun alaye bonus gba awọn iwe aaye, awọn akọle ati awọn iroyin ẹgbẹ, trailer, ati awọn ọna ibi ayelujara.

In 2004, Die, Darkman, Die was released on DVD as part of the "Universal Studio Selections". The DVD contained no bonus material or even a main menu (although there were chapter selections).

Ni ọdun 2004, Die, Darkman, Die jẹ ifilọlẹ ni DVD gẹgẹ bi ẹka "Universal Studio Selections". DVD naa kọọri aṣẹṣe tọkọ tabi menu olori (ṣugbọn akọọri aṣẹṣe ẹka).

All three Darkman films were released in a box set by Universal Studios in August 2007. Each is presented in 1.85:1 anamorphic widescreen, along with an English Dolby Digital 5.1 Surround track. No extra material was included. The high definition version of Darkman was released on HD DVD July 31 the same year.

Apeere mefa Darkman gbogbo wa jade ninu kọọkan seti nipasẹ Universal Studios ni Oṣu Agusta ọdun 2007. A ṣe apejuwe ọkan ninu wọn ni 1.85:1 anamorphic widescreen, pẹlu English Dolby Digital 5.1 Surround track. Ko si ohun alẹ ni a fọwọsi. Awọn ipo high definition ti Darkman jade ni HD DVD ni Oṣu Keje 31, ọdun kan naa.

A Blu-ray Disc edition of the first film was released on June 16, 2010. Shout! Factory released a second Blu-ray edition on February 18, 2014.

Atojọ Blu-ray Disc ti fimu akọkọ jẹ ifilọlẹ ni Oṣu Kefa 16, 2010. Shout! Factory tẹ ifilọlẹ Blu-ray keji ni Oṣu Februari 18, 2014.

On its opening weekend, Darkman grossed a total of $8 million in 1,786 theaters. To date, the film has grossed a total of $48.8 million worldwide.

Ní ọjọ́ ìbẹ̀rẹ̀ rẹ̀, Darkman ti gba owó tó ń lọ́ $8 million ní 1,786 theaters. Títí di òní, eré náà ti gba owó tó ń lọ́ $48.8 million gbogbo agbáyé.

On Rotten Tomatoes the film has an approval rating of 84% based on reviews from 61 critics. The site's consensus states: "Gruesome and deliciously broad, Sam Raimi's Darkman bears the haunted soulfulness of gothic tragedy while packing the stylistic verve of onomatopoeia springing off a comic strip page". On Metacritic the film has a score of 65 based on reviews from 15 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "C+" on an A+ to F scale.

Lori Rotten Tomatoes, eré náà ní ìdánimọ̀ 84% nípa àwọn àríyànji láti ọwọ́ àwọn ọ̀rẹ́-ọ̀rẹ́ 61. Ìgbéga ojú-ọ̀rọ̀ náà sọ: "Gruesome àti deliciously broad, Sam Raimi's Darkman máa ẹ̀mí àìrìn gbàgbé ti tragedy gothic nígbà tí ó ń pẹ̀kọ́ àwọn àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́ àṣẹ́

Los Angeles Times film critic Michael Wilmington felt that Darkman was the only film at the time "that successfully captures the graphic look, rhythm and style of the superhero books". Terrence Rafferty of The New Yorker said, "Raimi works from inside the cheerfully violent adolescent-male sensibility of superhero comics, as if there were no higher style for a filmmaker to aspire to, and the absence of condescension is refreshing". Peter Travers of Rolling Stone wrote: "Raimi's live-action comic book aims to deliver scares spiked with laughs. That it does". USA Today gave the film three out of four stars, and wrote: "With good leads and a few bucks, he's come up with a high-octane revenge piece mentionable in the same breath as its predecessors". Richard Corliss in Time said "Raimi isn't effective with his actors, and the dialogue lacks smart menace, but his canny visual sense carries many a scene". Entertainment Weekly gave the film a "B" rating and Owen Gleiberman wrote: "The movie is full of jaunty, Grand Guignol touches (the main gangster enjoys snapping and collecting fingers), but Raimi's images also have a spectral, kinetic beauty". In his review for The Washington Post, Joe Brown wrote: "Though Raimi seems to be trying to restrain himself, his giddily sick sense of humor still pops out all over the place – Darkman is a frenetic funhouse ride that has you laughing and screaming at the same time". Rita Kempley also of The Washington Post called it "a fiendishly stylish journey that links the classics of transfiguration to the terrors of our times". On the TV program At the Movies, Gene Siskel and Roger Ebert gave the film "two thumbs up". Both remarked at how original and stylised Raimi's sense of direction was, with Siskel adding that Darkman as a character was "interesting".

Los Angeles Times oniroyin fimu Michael Wilmington ro pe oju Darkman ni fimu kan naa ni akoko "ti o gba awo, orin ati ari superhero awon iwe". Terrence Rafferty ti The New Yorker so pe, "Raimi n sise lati inu awo, buruku, adolescent-male sensibility ti superhero comics, bi o ba ti ko si awo kekere fun oludari fimu lati gbe, ati aisan ti ko si condescension ni afefe". Peter Travers ti Rolling Stone ko so pe: "Raimi's live-action comic book n soro lati mu esin pamo si ekun. O se be". USA Today fun fimu meta kuro ni irinwo, ati ko so pe: "Pelu ajo ati owo kan, o ti gba ase ti o ni agbara pataki, ti a le so ni oruko re pamo si awon ti o ti gba". Richard Corliss ni Time so pe "Raimi ko se n sise pamo awon osere re, ati aroso ko ni oju buruku, sugbon awo awo re n soro lati gba ase". Entertainment Weekly fun fimu "B" rating, ati Owen Gleiberman ko so pe: "Fimu naa ni awo, Grand Guignol touches (olootito gangster n soro lati fa ati gba oju), sugbon aworan Raimi tun ni awo, kinetic beauty". Ni iwe aroso fun The Washington Post, Joe Brown ko so pe: "Bi o ba ti Raimi n soro lati dabi ara re, awo re ti o ni aisan buruku n soro lati gba ase - Darkman ni awo, funhouse ride ti o ni aisan ati ekun ni akoko kanna". Rita Kempley ti The Washington Post pe o ni "awo, stylish journey ti o ni awo, transfiguration si aisan wa". Lori eto TV At the Movies, Gene Siskel ati Roger Ebert fun fimu "two thumbs up". Won bebe so pe bi Raimi's sense of direction ti o ni awo ati ari, pamo si Siskel ti o so pe Darkman bi akosile "interesting".

Ian Nathan of Empire magazine said the film was "certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit". Peoples Ralph Novak called Darkman, a "loud, sadistic, stupidly written, wretchedly acted film".

Ian Nathan ti Empire magazine sọ pe fimu naa jẹ "dọgbadọgbà, Raimi kii ṣe rẹ laaye, ṣugbọn ọpọlọpọ awọn ẹṣe ẹ̀ka ti mọ ati awọn ẹ̀ka ti o dara pọ mọ ọpọlọpọ nẹti". Peoples Ralph Novak pe Darkman ni "fimù ti o gbona, ti o ṣe aisan, ti o ṣe aisan, ti o ṣe aisan, ti o ṣe aisan".

Darkman was singled out for notice by comic-book writer Peter David in the Comics Buyer's Guide as "The Perfect Super-Hero Film of All Time", although this assessment was based upon other features of the film than general quality.

Darkman jẹ́ ẹni tí a yan láti rí fún ìrísí rẹ̀ nípasẹ̀ olùkọ̀wé iwe àkọsílẹ̀ Peter David ní Comics Buyer's Guide gẹ́gẹ́ bi "Ere Okùnrin Àgbàlọ̀gbọ̀rọ̀ Tí ó Dára Jùlọ Lágbayé", bí ó tilẹ̀ jẹ́ pé ìdájọ́ yìí jẹ́ àkọsílẹ̀ míràn nínú fíìmù náà ju àǹfààní àgbàlọ̀gbọ̀rọ̀ lọ.

The A.V. Club called Darkman a key transitional film, bridging from Burton's Batman films, while forging its own dark path to the future.

The A.V. Club pe Darkman bi eru ifilọlẹ, o si n ṣe afikun lati awọn fiimu Batman ti Burton, nigbati o si n ṣe ọna ọna tuntun ti o buru si orun.

Darkman has been the subject of two Marvel Comics series (one a movie adaptation, the other an original sequel), numerous novels, as well as a video game published by Ocean Software, Darkman (1991). Tony Gardner's company Alterian, Inc. produced two different Halloween masks of the Darkman character after the film was released. Merchandising for the character all but disappeared for close to a decade until SOTA Toys obtained the rights to make a Darkman action figure. SOTA president Jerry Macaluso was interviewed by Dread Central:

Darkman ti jẹ́ àkọsílẹ̀ fún àwọn eré oníṣẹ́ Marvel Comics mẹ́rin (ọkan ló jẹ́ àtẹ̀jáde fílmù, ọkan kejì ló jẹ́ àtẹ̀jáde àkọ́kọ́), àwọn iwe ọ̀pẹ̀, àti eré vidio kan tí Ocean Software gbé jáde, Darkman (1991). Kọ̀mpánì Tony Gardner, Alterian, Inc. gbé ère Halloween méjì jáde lẹ́yìn tí fílmù náà jáde. Àwọn ohun èlò Darkman gbàgbé kọ̀kan fún ọ̀pọ̀lọpọ̀ ọdún títí SOTA Toys gbé àṣẹ láti gbé ohun èlò Darkman jáde. Ààrẹ SOTA, Jerry Macaluso, ti gbé àṣẹ láti sọ̀rọ̀ pẹ̀lú Dread Central:

In 2005, SOTA produced two versions of their Darkman action figure (including interchangeable head and hands to allow the figure to be either bandaged or revealing his scarred visage), as well as a Darkman statue.

Ni ọdun 2005, SOTA ṣe awọn ẹyọkan meji ti awọn ọmọ egbe Darkman (pẹlu orí tẹ̀ jáde àti ọwọ̀ láti ṣe àṣẹ láti fi ẹyọkan náà jẹ́ ti a fọ́ àwọn ibanú rẹ̀ tàbí láti fi ẹ̀jẹ̀ rẹ̀ hàn), gẹ́gẹ́ bi Darkman ẹ̀ka.

Dynamite Entertainment in 2006 reached an agreement with Universal Studios Consumer Products Group to produce original comics based on Darkman. A bimonthly limited series entitled Darkman vs. Army of Darkness was published from August 2006 to March 2007.

Dynamite Entertainment ni ọdun 2006 pinnu imọran pẹlu Universal Studios Consumer Products Group lati ṣe awọn komiki aladun ni paṣẹ Darkman. Iwe komiki bimonthly ti a pe ni Darkman vs. Army of Darkness jẹ aṣẹyọri lati Oṣu Agusta ọdun 2006 de March ọdun 2007.

In November 2007, Sideshow Collectibles put up for pre-order a 1:4 scale "Premium" Format Figure version of Darkman that would be released in 3rd quarter 2008.

Ni Oṣu Kọkànlá ọdun 2007, Sideshow Collectibles ṣe aṣẹ fun pre-order 1:4 scale "Premium" Format Figure apo Darkman ti yoo jade ni ẹka kẹta ọdun 2008.

With release in 1990, Marvel Comics published a 3-issue adaptation of Darkman in color along with a larger black and white magazine size adaptation consisting of all three issues. In 1993, Darkman returned in a 6 issue mini-series also published by Marvel Comics. In 2006, Dynamite Entertainment published a crossover that pitted Darkman against Sam Raimi's Ash Williams of the Evil Dead/Army of Darkness franchise.

Pẹ̀lú ìgbéjade rẹ̀ ní ọdún 1990, Marvel Comics gbé ètò 3-ẹ̀wẹ̀ ti Darkman jáde nínú àwọ̀ pẹ̀lú ètò ọ̀sẹ̀ tó tóbi ju àwọ̀ dúdú lọ̀ọ̀kan, èyí tó jẹ́ gbogbo ẹ̀wẹ̀ mẹ́ta. Ní ọdún 1993, Darkman padà sí nínú ẹ̀wẹ̀ 6-ẹ̀wẹ̀ tó kùnà, èyí tó jẹ́ Marvel Comics gbé jáde. Ní ọdún 2006, Dynamite Entertainment gbé ètò ọ̀sẹ̀ tó pín Darkman sí ẹ̀gbẹ́ Sam Raimi's Ash Williams ti franchise Evil Dead/Army of Darkness.

Alongside the theatrical release in 1990, Jove Books published the novel adaptation written by Randall Boyll. In 1994, Boyll returned to expand upon the adventures of Darkman in a four-novel miniseries from Pocket Books. Over Pocket Books' four novels (The Hangman, The Price of Fear, The Gods of Hell, and In the Face of Death) Boyll further develops Darkman's character and how he deals with his new existence as an outcast individual with the ability to help others.

Nigba to si ere na 1990, Jove Books ti sọ ọrọ iwe ti Randall Boyll kọ. Ni 1994, Boyll padanu lati fa agbelebu awọn aṣẹ Darkman ni iwe-ọrọ mẹrin ti Pocket Books. Lati inu awọn iwe-ọrọ mẹrin ti Pocket Books (The Hangman, The Price of Fear, The Gods of Hell, ati In the Face of Death) Boyll sọ pe o ti fa agbelebu awọn iṣẹ Darkman ati bawo o ṣe mu ipa rẹ bi ẹni ti a ti paṣẹ ati pe o ni agbara lati ṣe iranṣẹ fun awọn miiran.

There were two direct-to-video sequels, Darkman II: The Return of Durant (1995) and Darkman III: Die Darkman Die (1996).

Wọ́n ṣe àkọ́kọ́ mẹ́ta lọ́wọ́lọ́wọ́, Darkman II: Ìpadé Durant (1995) àti Darkman III: Kú, Darkman Kú (1996).

In April 2022, Neeson stated that he would be interested in reprising his role for a legacy sequel to the original film. The producer of the sequel film was attached, and the studio had started to talk about the sequel.

Ni Oṣu Afẹrin 2022, Neeson sọ pe o nṣe ifẹ si igba ipa rẹ fun sequel legacy si fimu asalẹ. Oludari fimu sequel naa ti wọle, ati studio ti bẹrẹ si sọ nipa sequel.

Universal Television financed a 30-minute television pilot presentation based on Darkman, which was made in 1992 and was to be shown on Fox. The pilot, directed by Brian Grant, retold the origin of the character (with some alterations) and introduced several new characters. Christopher Bowen starred in the role of Peyton Westlake/Darkman, Larry Drake reprised his role of Robert G. Durant, and Kathleen York played the cop, Jenny.

Universal Television fi itaja ere oriṣiriṣii 30-minute television pilot presentation ti o ba ni Darkman, ti o je ni 1992 ati ti o yẹ ki o wa lori Fox. Oriṣiriṣii, ti Brian Grant ṣe adarẹ, retold iṣẹlẹ ti awọn ọmọkunrin (pẹlu awọn ayipada) ati ṣe ifọwọsi awọn ọmọkunrin tuntun. Christopher Bowen ṣe ipa Peyton Westlake/Darkman, Larry Drake ṣe ipa Robert G. Durant, ati Kathleen York ṣe ipa olugbejade, Jenny.

The origin is similar to the one in the original film as Peyton discovers his synthetic skin, is attacked and left for dead by Durant and his gang. In this version, however, Peyton is already married to Julie, and she is killed in the explosion. As in the films, Westlake becomes Darkman, and seeks vengeance on Durant and his gang. Darkman's headquarters are in an abandoned observatory overlooking the city, and he is wanted by the police for his actions against Durant's gang. The pilot ends with some scenes from the first film (particularly of Darkman and Durant fighting) and Darkman stating that Justice will answer with a brand new face.

Ibẹrẹ pẹlu eyi ni filmu akọkọ ni bi Peyton ri bọọlu rẹ ti aṣẹ, a pa a si duro fun ikú nipasẹ Durant ati gang rẹ. Ni iyẹn version yi, sugbon, Peyton ti wọ Julie, ati pe o pa ni abẹlẹ. Bi filmu, Westlake di Darkman, ati nreti ojogbon Durant ati gang rẹ. Ile ise Darkman wa ni ile ti a ti yọ kuro ti o ri ilu, ati pe oloselu nreti fun awọn iṣẹ rẹ pẹlu gang Durant. Iṣẹja pẹlu awọn aṣẹkun lati filmu akọkọ (pẹlu Darkman ati Durant ti oja) ati Darkman nso pe Ọjọgbọn yoo dahun pẹlu oju tuntun.

WWNT is a Spanish language formatted broadcast radio station licensed to Winston-Salem, North Carolina, United States, serving Winston-Salem and Forsyth County, North Carolina. WWNT is owned by Delmarva Educational Association. As of August 1, 2018, WWNT is silent.

WWNT jẹ ile-iṣẹ redio alayeeli ti o ni aṣẹ lati Winston-Salem, North Carolina, Orile-ede Amerika, ti o n ṣe iranlọwọ fun Winston-Salem ati Forsyth County, North Carolina. WWNT jẹ ti Delmarva Educational Association. Lati Oṣu Awẹwo 1, 2018, WWNT ti ṣọkẹ.

By 1955, WTOB had moved to 1380 kHz and upgraded from a daytime to a full-time station with 5,000 watts days and 1,000 watts night. It also had a sister television station: WTOB-TV, which operated from 1953 to 1957.

Ni 1955, WTOB ti gbe si 1380 kHz ati di ile-iṣẹ akoko-ọjọ pẹlu 5,000 watts ni ọjọ ati 1,000 watts ni ale. O tun ni ile-iṣẹ tẹlifisionu arabinrin: WTOB-TV, ti n ṣiṣẹ lati 1953 de 1957.

WTOB was a Top 40 station during the 1950s, 1960s and 1970s. George Lee was one of "The Good Guys". Other popular DJs were Dick Bennick, The Flying Dutchman, and Rick Dees, who worked at WTOB, WCOG and WKIX when the stations were owned by Southern Broadcasting.

WTOB jẹ ẹ̀ka Top 40 lọ́dún 1950, 1960, ati 1970. George Lee jẹ ọkan ninu "The Good Guys". Awọn DJ tó gbajúmọ̀ mìíràn ni Dick Bennick, The Flying Dutchman, ati Rick Dees, tó ṣiṣẹ́ lọ́wọ́ WTOB, WCOG, ati WKIX nigbà tí àwọn ẹ̀ka náà wà lọ́wọ́ Southern Broadcasting.

Shortly after his retirement in 2015 from WEGO, a Winston-Salem Journal story said that when Smith Patterson went to work at WTOB, his name was the same as John Johnson and he was told not to use that name. Several days later, he got behind a Patterson Smith oil truck and decided on the name he would use through his 45-year career.

Lẹhin ìgbà tí ó fi ẹ̀ṣẹ̀ sílẹ̀ ní ọdún 2015 láti WEGO, ìròyìn Winston-Salem Journal sọ pé nigbà Smith Patterson dé ilé-iṣẹ́ WTOB, orúkọ rẹ̀ jẹ́ orúkọ John Johnson àti wọ́n sọ fún un pé kí ó máa lo orúkọ náà. Ọ̀sẹ̀ kan dé, ó wọ inú truck epo Patterson Smith àti ó yan orúkọ tí ó yóò lo lọ́jọ́ ọdún 45 tí ó ti ṣiṣẹ́.

In the 1980s, the station played adult standards in addition to airing local and regional sports events, talk programs such as Marge at Large, and other local content such as a barbershop music program. At the end of the 1980s, most of the station's music came from Satellite Radio Networks. The station later switched to CNN radio news. Truth Broadcasting eventually purchased the station and switched it to Christian talk, later airing the same programming as WCOG.

Ninu awọn ọdun 1980, ẹ̀rọ náà tẹ̀le àwọn orin agbalagba pẹ̀lú àwọn èrè ìdárayá àwọn eré ìdárayá ti ìlú àti àgbègbè, àwọn èrè ọ̀rọ̀ bíi Marge at Large, àti àwọn àkójọpọ̀ ìlú míràn bíi èrè orin barbershop. Ní ìparí ọdún 1980, ọ̀pọ̀lọpọ̀ orin ẹ̀rọ náà jẹ́ láti Satellite Radio Networks. ẹ̀rọ náà sí tún yípadà sí CNN radio news. Truth Broadcasting tẹ̀le ẹ̀rọ náà rí àti yípadà sí Christian talk, lẹ́yìn náà tẹ̀le àwọn èrè ọ̀rọ̀ bíi WCOG.

In 2003, Truth Broadcasting stopped selling time to La Movidita, which moved back to WSGH. Que Pasa moved from WSGH to WTOB and WWBG. This was done even though the Spring 2002 Arbitron results showed WTOB had its highest ratings since the change to Spanish programming. At some point not too long after this, Davidson Media purchased WTOB.

Ni ọdun 2003, Truth Broadcasting dọ́gba iṣẹ rẹ pẹ̀lú La Movidita, ti o padasi si WSGH. Que Pasa lo si WTOB ati WWBG lati WSGH. Aṣẹ yi ni a ṣe nigba ti awọn ibeere Arbitron ti Spring 2002 fihan pe WTOB ti gba iwe ipo rẹ ti o ga julọ lati igba ti a ṣe atunṣe si ifiweranṣẹ Spanish. Ni akoko kan ti o ṣe pẹ, Davidson Media ra WTOB.

On April 1, 2013, WTOB switched back to all-English, dropped all Spanish programming and flipped its format to Oldies (1950s-1970s and Carolina Beach Oldies). Jerry Holt leased the station from owner Davidson Media and was the general manager of WTOB as well as an on-air D.J. The station announced that it was moving its studios to 3rd Avenue in Winston-Salem. WTOB was based on the style and music that made it the top radio station in Winston-Salem in the 1960s and 1970s, and past jingles and sound effects were used. Among the disc jockeys were Curtis Lee, who was on WAIR in the 1960s.

Ni Oṣu Afẹrin 1, 2013, WTOB padasi si Gẹẹsi kan, ti yọkuro awọn eto Spanish ati ṣe ifilọlẹ rẹ si Oldies (1950s-1970s ati Carolina Beach Oldies). Jerry Holt ṣe ifilọlẹ ile-iṣẹ lati ọwọ oluṣọwọ Davidson Media ati pe o jẹ oludari alakoso WTOB ati pe o jẹ D.J. lori ayẹyẹ. Ile-iṣẹ ṣe akiyesi pe o n lo si ile-iṣẹ rẹ si 3rd Avenue ni Winston-Salem. WTOB jẹ lori ọna ati orin ti o jẹ ile-iṣẹ redio to ga julọ ni Winston-Salem ni 1960s ati 1970s, ati pe awọn jingles ati awọn aṣẹ orin ti koja ti a lo. Nínú awọn disc jockeys ni Curtis Lee, ti o wa ni WAIR ni 1960s.

Holt and Davidson Media could not agree on a new lease in 2014. WTOB was leased to Dan Williard, and Holt leased another station, WSMX. WTOB switched to a classic hits format on June 1. Speaking about the new format, program director Coyote Mush told the Winston-Salem Journal, "We’re the only station that does the Classic Hits format between Charlotte and Raleigh... Corporate radio has just ignored it."

Holt ati Davidson Media ko le so wipe wọn yoo pinnu lori ogun ti o to nipa lease ni 2014. WTOB je Dan Williard lọ, ati Holt si lọ lọ si ibikan ti o si, WSMX. WTOB yọ si fọọmu Classic Hits ni Oṣu Kẹfà 1. Ni ibamu si fọọmu tuntun, oludari ẹka Coyote Mush sọ fun Winston-Salem Journal, "Awa ni ibikan kan naa ti n se Classic Hits format laarin Charlotte ati Raleigh... Redio korporẹẹti ti duro wipe ko si.

In July 2015, TBLC Media purchased WTOB. In November 2015, TBLC changed the format to Spanish. The classic hits format remained on the station's website and moved first to WSMX and on December 18, 2015, at noon, to WEGO. Former WTOB employees formed Southern Broadcast Media LLC to license the new station.

Ni Oṣu Jùlọ ọdún 2015, TBLC Media ra WTOB. Ni Oṣu Kọkànlá ọdún 2015, TBLC yí fọ́ọ̀mu sí Spanish. Fọ́ọ̀mu awọn hiti tó gbajúmọ̀ tún wà lórí ọ̀nà ìṣẹ̀lẹ̀ ilé-iṣẹ̀ àti lọ sí WSMX àti lọ́jọ́ Kẹrìnlá Oṣù Kejìlá ọdún 2015, ní ìṣẹ̀lẹ̀, sí WEGO. Àwọn ajìjàǹgbara WTOB tẹ́lẹ̀ dá Southern Broadcast Media LLC sílẹ̀ láti gbé ìwé-ẹ̀rí fún ilé-iṣẹ̀ tuntun.

On December 9, 2015, WTOB changed its callsign to WWNT. On November 15, 2016, TBLC Media consented to give the WTOB callsign to the owners of WEGO 980 AM, and as of November 22, 2016, WEGO became WTOB.

Ni Oṣu Kejila 9, 2015, WTOB yipada orukọ rẹ si WWNT. Ni Oṣu Kọkànlá 15, 2016, TBLC Media fọwọ si fun WTOB orukọ rẹ si awọn eni ti n ṣe WEGO 980 AM, ati lati Oṣu Kọkànlá 22, 2016, WEGO di WTOB.

According to the FCC's Silent AM Broadcast Stations List, WWNT has been off the air since December 11, 2020.

Gẹgẹ bi FCC's Silent AM Broadcast Stations List, WWNT ti ku lati December 11, 2020.

A sister television station, WTOB-TV, signed on the air on September 18, 1953. It was an ABC and DuMont affiliate. WTOB-TV operated on Channel 26. As with many early UHF stations, it faced signal problems and the fact that viewers had to purchase expensive UHF converters to see the signal. With the area already served by strong VHF stations like Greensboro's WFMY-TV and Winston-Salem's WSJS-TV, WTOB-TV was fighting a difficult battle. It signed off in 1957. Channel 26 now is WUNL-TV, the University of North Carolina television station serving Winston-Salem. It is not affiliated with WTOB.

Ere idaraya telifisonu WTOB-TV bere lori afefe ni Ojo 18, 1953. O jẹ afẹyinti ABC ati DuMont. WTOB-TV ṣe iṣẹ lori Channel 26. Bi aṣẹṣe pẹlu ọtun UHF akọkọ, o ṣe aṣẹṣe awọn akoso ifihan ati awọn olutaja ti ṣe pẹlu awọn UHF converters oluwọ ti o ṣe pẹlu ifihan. Pẹlu agbegbe ti a ti ṣe pẹlu awọn VHF stations kọọkan bi Greensboro's WFMY-TV ati Winston-Salem's WSJS-TV, WTOB-TV jẹ aṣẹṣe ogun rara. O bere lori ni 1957. Channel 26 ni WUNL-TV, ile-ẹkọ giga ti North Carolina telifisonu ti ṣe pẹlu Winston-Salem. O ko jẹ afẹyinti WTOB.

, known as Everybody's Golf 2 in the PAL region (Australian version titled Everybody's Golf: Open Tee 2) and Hot Shots Golf: Open Tee 2 in North America, is the eighth game in the Everybody's Golf series and the second to be released for PlayStation Portable. The game featured an online mode where up to 16 players were able to play on a single course. The servers shut down on 5 December 2011, making it impossible to play online since then.

, ti a mo si Everybody's Golf 2 ni agbegbe PAL ( Australian version akole si Everybody's Golf: Open Tee 2) ati Hot Shots Golf: Open Tee 2 ni North America, je eru keji ni Everybody's Golf series ati keji ti a gbe jade fun PlayStation Portable. Olootu re gba mode online to le se afihan pe awon osere 16 le se kopa lori irin kan. Awon server pa ni 5 Osu Kejila 2011, o si fa ase ki a to le kopa online lati igba na.

The game received "favourable" reviews according to the review aggregation website Metacritic. Eurogamer called it an unfussy feel-good game. IGN said: "Open Tee 2 delivers a solid, easy-to-use golf engine that gets mixed with wacky characters and costumes". In Japan, Famitsu gave it a score of 37 out of 40.

Ere naa gba "aye" iwe aroso yi, gẹgẹ bi ile-iwe aroso Metacritic se so. Eurogamer pe e ni ere ti o dara, ti o ni aye. IGN sọ: "Open Tee 2 mu golf engine ti o dara, ti o rọrun, ti o ni awọn ọmọde ti o ni aye ati awọn ẹwa". Ni Japan, Famitsu fun ni ami-ẹri 37 lati 40.

John Ratcliff (13 September 1954) is an English record producer and musician. He originally, discovered, supported and recorded the Norwegian synth-pop group a-Ha. Between 1983 and 1985 he rented a flat in Dartmouth Road, Sydenham for the band to live in as it was 200 yards from his recording studio called Rendezvous. Sometimes the band members would take a 75 yard shortcut across the adjacent warehouse roof to get into the studio.

John Ratcliff (13 September 1954) jẹ olùgbé àwo orin ọmọ orilẹ-ede Geesi ati olorin. O ṣe àgbékalẹ, ṣe àgbékalẹ, ṣe àgbékalẹ ati ṣe àgbékalẹ ẹgbẹ synth-pop ti Norway a-Ha. Lati 1983 de 1985 o gbe ile kan ni Dartmouth Road, Sydenham fun ẹgbẹ naa lati gbe ninu, nigbati o jẹ 200 yards si studio rẹ ti a n pe Rendezvous. Ojo kan, awọn ọmọ ẹgbẹ ẹgbẹ naa yoo gbe 75 yard shortcut lori orisun ọfọn igi kan lati de studio naa.

Over that two year period the band recorded nearly forty songs, many of which ended up on their next three albums. The most notable of these being a demo of Take On Me which embodied the distinctive a-ha sound that would later propel the band to worldwide success.

Ninu ojo meji yii, egbe naa ko orin to to merinla, papa awon orin yii ni won fi se awon album wọn mẹta to tẹle. Awọn orin yii ni awọn ti o gbajumo ni demo ti Take On Me ti o mu awọn a-ha sound ti o yẹ ki egbe naa gba ayẹyẹ ayé.

Eventually he got the band to sign a management deal with his and Terry Slater's management company, giving Pål, Morten and Mags a 25% share each of the profits. This arrangement was quickly superseded when Slater signed them to a publishing deal with ATV.

Nigba to de, o si gba ẹgbẹ naa lati ṣe aṣẹṣe idari pẹlu ile-iṣẹ idari rẹ ati Terry Slater, ti o fun Pål, Morten ati Mags 25% ọpa ọrọ aje. Iṣeto yii ni Slater ṣe aṣẹṣe akọsilẹ pẹlu ATV.

He is noted for re-producing 8 of the 10 tracks on a-Ha's debut album Hunting High And Low in 1985 at Eel Pie Studios near Richmond-upon-Thames. The most notable track being their worldwide hit "Take On Me".

Ọ̀nà ni fún unpe àwọn orin mẹjọ mẹwa nínú àwọn orin mẹwàá lórí àlọmọ àkọ́kọ́ a-Ha ti a pe àkọlé rẹ̀ ni Hunting High And Low ni ọdún 1985 ní Eel Pie Studios lẹ́gbẹ̀ Richmond-upon-Thames. Orin tí ó gbajúmọ̀ jù ni orin wọn tí ó gbajúmọ̀ lágbàáyé "Take On Me".

Anthony Moris (born 29 April 1990) is a professional footballer who plays as a goalkeeper for Belgian First Division A club Union SG. Born in Belgium, he plays for the Luxembourg national team.

Anthony Moris (wọ́n bí lọ́jọ́ kẹrìnlá oṣù kẹrin ọdún 1990) jẹ́ agbábọ́ọ̀lù ọmọ ẹgbẹ́ ẹgbẹ́ agbábọ́ọ̀lù Belgian First Division A Union SG. Wọ́n bí i sí Belgium, ó ń gbá bọ́ọ̀lù fún ẹgbẹ́ orílẹ̀-èdè Luxembourg.

Moris played his first friendly match for Standard Liège against R.F.C. Amay where he kept a clean sheet.

Moris gba ife re fun Standard Liège lati inu R.F.C. Amay nibi to gba awo fun.

He was the choice goalkeeper for Standard Liège for the 2008–09 season. He was contracted until 2010 with Standard and extended his contract three more years.

Ọ̀kan pẹ̀lú ẹni tí ó wọ́n pe sí ipò gólùkípá fún Standard Liège fún ọdún 2008–09. Ó ti ń ṣe ìṣẹ́ títí di ọdún 2010 pẹ̀lú Standard, ó sì tún ìṣẹ́ rẹ̀ sí ọdún mẹ́ta tó kù.

In January 2014, Moris was loaned out to then-Belgian First Division B club Sint-Truiden. He made his competitive debut for the club on 1 February 2014 in a 1–1 home draw with Roeselare, coming on as a 79th-minute substitute for Davy Schollen. He played in just eight more competitive matches during the duration of his loan, with three in the league and five in the playoffs. Moris kept four clean sheets during the loan, including one in his eleven-minute stint on his debut.

Ni January 2014, Moris ti a gbe lo si egbe Sint-Truiden ti Belgian First Division B. O gba bọọlu akọkọ fun egbe na 1 February 2014 ninu 1–1 ti o duro si ile pẹlu Roeselare, o si gba bọọlu bi 79th-minute substitute fun Davy Schollen. O gba bọọlu ninu ọkan mẹjo mẹrin ti o dara ju fun egbe na igba ti o wa lo, pẹlu mẹta ninu league ati marun ninu playoffs. Moris ti gba clean sheets mẹrin ninu igba ti o wa lo, pẹlu ọkan ninu awọn ọjọ mẹwa ti o gba bọọlu ni akọkọ.

In early 2015, Moris was picked up by K.V. Mechelen. He made his league debut for the club on 5 April 2015, coming on as an 88th-minute substitute for Wouter Biebauw in a 4–1 home victory over Waasland-Beveren. On 25 April 2015, in just his third match for the club, Moris suffered a cruciate ligament rupture in his left knee, ending his first season with the club prematurely. In October 2016, in a league match against Anderlecht, Moris tore his meniscus. On 25 March 2017, in a World Cup qualifying match against France, Moris tore his cruciate ligament again, this time in his right knee.

Ni aworan 2015, Moris ni K.V. Mechelen yan. O gba bọọlu akọkọ rẹ fun ẹgbẹ na 5 April 2015, o si wọle bi ọmọ tuntun ninu 88th-minute fun Wouter Biebauw ninu 4–1 olubori ile fun Waasland-Beveren. Ni 25 April 2015, ninu bọọlu rẹ keji fun ẹgbẹ, Moris ku igbele ligament ninu ẹsẹ osi, o si mu ọdun akọkọ rẹ pẹlu ẹgbẹ na aṣeyori. Ni Oṣu Kẹ̀wá 2016, ninu bọọlu ligi fun Anderlecht, Moris ya meniscus. Ni 25 March 2017, ninu bọọlu ife Cup Agbaye fun France, Moris ya igbele ligament rẹ pelu, yii si wọle ninu ẹsẹ otun.

On 18 July 2018, Moris and Mechelen mutually parted ways. The next day, he signed for Belgian First Amateur Division club R.E. Virton on a free transfer. He made his league debut for the club on 1 September 2018, playing all ninety minutes of a 3–0 away victory over Dessel Sport.

Ni 18 Oṣu Keje 2018, Moris ati Mechelen ti ya awọn ọna wọn. Ni ọjọ to, o si sọọṣọ fun ẹgbẹ Belgian First Amateur Division R.E. Virton ni aṣẹ aṣẹ. O ṣe adehun rẹ fun ẹgbẹ naa ni 1 Oṣu Kẹsán 2018, o ṣe ninu awọn wakati mẹrinlelogun ninu 3–0 ti o gba Dessel Sport ni ibi ọja.

Moris who has a Luxembourgish father, declared himself available to play for Luxembourg in late 2013, thus becoming selectable for Luxembourg national team, the d‘Roud Léiwen (Red Lions).

Moris ti baba rẹ jẹ Luxembourgish, ti fi ara rẹ han fun didaye fun Luxembourg ni ọdun 2013, eyi ti o jẹ aṣẹ fun ẹgbẹ agbabọọlu orilẹ-ede Luxembourg, d‘Roud Léiwen (Red Lions).

In February 2014, Moris was called up for the first time into the Luxembourg national football team that drew with Cape Verde 0–0. He has been a regular member of the squad for the past six seasons.

Ni Oṣù Kejì 2014, Moris jẹ aṣoju akọkọ fun ẹgbẹ agbabọọlu orilẹ-ede Luxembourg ti pẹlu Cape Verde 0–0. O ti jẹ ọmọ ẹgbẹ ti ẹgbẹ naa fun ọdun mẹfa ti waye.

12 – 13 June – The Battle of Tsorona was fought between the army and Ethiopian forces near the border town of Tsorona, Eritrea.

12 – 13 Oṣu Kefa – Ogun Tsorona waye laarin awon ologun ati awon ologun Ethiopia lẹgbẹẹ ilu abẹ́na Tsorona, Eritrea.

Catherine Ardagh (born 20 September 1982) is an Irish Fianna Fáil politician who has served as a Senator for the Industrial and Commercial Panel since April 2016. She previously served as Leader of Fianna Fáil in the Seanad from 2016 to 2020.

Catherine Ardagh (ti a bi ni 20 September 1982) jẹ ọmọ ẹgbẹ́ ọlọ́sẹlú Fianna Fáil ọmọ orilẹ-ede Ireland ti o ti ṣiṣẹ bi Senator fun Industrial and Commercial Panel lati April 2016. O ti ṣiṣẹ bi Olori ẹgbẹ́ Fianna Fáil ni Seanad lati 2016 de 2020.

She was a member of Dublin City Council from 2014 to 2016. Catherine is the daughter of former TD Seán Ardagh. She was an unsuccessful candidate for the Dublin South-Central constituency at the 2016 and 2020 general elections. She is the Fianna Fáil Seanad Spokesperson on Social Protection. She was re-elected as a Senator at the 2020 Seanad election.

Ọ̀jọ̀gbọ̀n ni ó wà nínú àjọ Dublin City Council láti ọdún 2014 sí 2016. Catherine ni ọmọbìnrin tẹ́lẹ̀ TD Seán Ardagh. Ó jẹ́ aṣojú tí kò lọ́lá fún agbègbè Dublin South-Central ní ìdìbò orílẹ̀-èdè 2016 àti 2020. Ó jẹ́ olùsọ̀rọ̀ Fianna Fáil Seanad fún Social Protection. Ó jẹ́ aṣojú Senator lẹ́yìn ìdìbò Seanad 2020.

The Caspian tiger was a Panthera tigris tigris population native to eastern Turkey, northern Iran, Mesopotamia, the Caucasus around the Caspian Sea, Central Asia to northern Afghanistan and the Xinjiang region in western China. Until the Middle Ages, it was also present in southern Russia. It inhabited sparse forests and riverine corridors in this region until the 1970s. This population was regarded as a distinct subspecies and assessed as extinct in 2003.

Kọsin ti Caspian jẹ́ ẹ̀yà Panthera tigris tigris ti o jẹ́ ọmọ ile ni apa ilaorun ti Turkey, apa ariwa ti Iran, Mesopotamia, Caucasus lẹgbẹẹ Caspian Sea, Central Asia si apa ariwa ti Afghanistan ati agbegbe Xinjiang ni apa iwoorun ti China. Tití di Middle Ages, o wa pẹlu ni apa guusu ti Russia. O gbe ni igbo ti o ku ati awọn ẹnu odò ni agbegbe yii titi di 1970s. A ṣe ayẹyẹ ẹ̀yà yii bi ẹ̀ka pataki ati a ṣe aṣẹ yi pe o ku lọdun 2003.

Results of a phylogeographic analysis evinces that the Caspian and Siberian tiger populations shared a common continuous geographic distribution until the early 19th century.

Aṣẹ̀ṣe ti aṣẹ̀ṣe phylogeographic faa han pe awọn ẹ̀ka Caspian ati Siberian tiger ti pin awọn ipinle ilẹ̀ ti o wọpọ si titi di awọn ọdun 19th.

Felis virgata was a scientific name used by Johann Karl Wilhelm Illiger in 1815 for the greyish tiger in the area surrounding the Caspian Sea.

Felis virgata jẹ orukọ sayensi ti Johann Karl Wilhelm Illiger lo ni ọdun 1815 fun tigeri alawọ funfun ni agbegbe ihamọla awọn Okun Caspian.

Tigris septentrionalis was the scientific name proposed by Konstantin Satunin in 1904 for a skull and mounted skins of tigers that were killed in the Lankaran Lowland in the 1860s.

Tigris septentrionalis ni oruko sayensi ti Konstantin Satunin fi se ase ni 1904 fun igi orun ati aworan erin ti won pa ni Lankaran Lowland ni 1860s.

Felis tigris lecoqi and Felis tigris trabata were proposed by Ernst Schwarz in 1916 for tiger skins and skulls from Lop Nur and Ili River areas, respectively.

Felis tigris lecoqi ati Felis tigris trabata je aropo nipasẹ Ernst Schwarz ni ọdun 1916 fun awo ati orí ẹja tiger lati agbegbe Lop Nur ati Ili River, bákan náà.

In 1929, Reginald Innes Pocock subordinated the tiger to the genus Panthera. For several decades, the Caspian tiger was considered a distinct tiger subspecies.

Ni ọdun 1929, Reginald Innes Pocock fi ẹni ọ̀giri si ẹ̀ka Panthera. Fun ọ̀pọ̀lọpọ̀ ọdun, a ṣe apejuwe ẹni ọ̀giri Caspian bi ẹ̀ka ọ̀giri to ṣe pataki.

In 1999, the validity of several tiger subspecies was questioned. Most putative subspecies described in the 19th and 20th centuries were distinguished on basis of fur length and colouration, striping patterns and body size, hence characteristics that vary widely within populations. Morphologically, tigers from different regions vary little, and gene flow between populations in those regions is considered to have been possible during the Pleistocene. Therefore, it was proposed to recognize only two tiger subspecies as valid, namely P. t. tigris in mainland Asia, and P. t. sondaica in the Greater Sunda Islands and possibly in Sundaland.

Ni ọdun 1999, a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin ọlọpọ ni a sọ pe ọgbọọgbọ ẹyin

At the start of the 21st century, genetic studies were carried out using 20 tiger bone and tissue samples from museum collections and sequencing at least one segment of five mitochondrial genes. Results revealed a low amount of variability in the mitochondrial DNA in Caspian tigers; and that Caspian and Siberian tigers were remarkably similar, indicating that the Siberian tiger is the genetically closest living relative of the Caspian tiger. Phylogeographic analysis indicates that the common ancestor of Caspian and Siberian tigers colonized Central Asia via the Gansu−Silk Road region from eastern China less than 10,000 years ago, and subsequently traversed eastward to establish the Siberian tiger population in the Russian Far East. The Caspian and Siberian tigers were likely a single contiguous population until the early 19th century, but became isolated from another due to fragmentation and loss of habitat during the Industrial Revolution.

Ni awiwere orundun 21, awọn iroyin idanu ti won se lori awọn apeere 20 ti egungun ati awọn akọle ti egungun lati awọn iroyin ile-ọba ati awọn apeere ti oju-iwe kan ninu awọn orisun mitochondrial marun. Awọn ibi ti o mu wa ni oju-iwe ti oju-iwe mitochondrial ni egungun Caspian; ati pe egungun Caspian ati Siberian ni awọn ti o dara, ti o mu wa pe egungun Siberian ni egungun ti o dara julọ ti egungun Caspian. Awọn iroyin phylogeographic mu wa pe baba ti egungun Caspian ati Siberian ti gbe ni Central Asia lori Gansu−Silk Road region lati eastern China kéré 10,000 odun sẹyin, ati pe o si gbe lọ si ila lati gbe awọn egungun Siberian ni Russian Far East. Egungun Caspian ati Siberian jẹ́ ẹgbẹ́ kan ti o dara julọ titi di awiwere 19, ṣugbọn o di ẹgbẹ́ meji lati ọdọọdun ọkan lẹhinna ni ọwọ awọn iroyin ati awọn apeere ti egungun ni awiwere Industrial.

In 2015, morphological, ecological and molecular traits of all putative tiger subspecies were analysed in a combined approach. Results support distinction of the two evolutionary groups continental and Sunda tigers. The authors proposed recognition of only two subspecies, namely P. t. tigris comprising the Bengal, Malayan, Indochinese, South Chinese, Siberian and Caspian tiger populations, and P. t. sondaica comprising the Javan, Bali and Sumatran tiger populations. Tigers in mainland Asia fall into two clades, namely a northern clade formed by the Caspian and Siberian tiger populations, and a southern clade formed by populations in remaining mainland Asia.

Ni ọdun 2015, aṣẹjuṣe, aṣẹjuṣe osise ati aṣẹjuṣe molekuli fun gbogbo awọn ẹ̀yà kọkọrọ ajeji ti a ṣe atunṣe ni ọna ti a ṣe atunṣe. Awọn ẹṣẹ ṣe afihan pe awọn ẹgbẹ meji ti ajeji continental ati Sunda ni aṣẹjuṣe. Awọn oludari ṣe ifihan pe kikan ṣe ẹ̀yà meji, eyi ti a pe ni P. t. tigris ti o ni awọn ẹgbẹ Bengal, Malayan, Indochinese, South Chinese, Siberian ati Caspian tiger, ati P. t. sondaica ti o ni awọn ẹgbẹ Javan, Bali ati Sumatran tiger. Awọn kọkọrọ ajeji ni Asia ti o wa ni ile ṣe ẹgbẹ meji, eyi ti a pe ni ẹgbẹ ariwa ti a ṣe pẹlu awọn ẹgbẹ Caspian ati Siberian tiger, ati ẹgbẹ guusu ti a ṣe pẹlu awọn ẹgbẹ ti o wa ni ile Asia ti o wa ni ile.

In 2017, the Cat Specialist Group revised felid taxonomy and now recognizes the tiger populations in continental Asia as P. t. tigris.

Ni ọdun 2017, Ìgbìmọ̀ Àṣẹ̀ṣe Ọ̀gẹ̀dẹ̀ ṣatunkọ ọ̀rọ̀ ilẹ̀-ẹ̀kọ́ àti gba àṣẹ yẹn pe awọn ẹ̀ka ọ̀gẹ̀dẹ̀ ni Asia alaṣẹ̀gbẹ̀ wọ̀nyi bi P. t. tigris.

However, a genetic study published in 2018 supported six monophyletic clades, with the Amur and Caspian tigers being distinct from other mainland Asian populations, thus supporting the traditional concept of six living subspecies.

Ṣugbọn, iwe-ẹkọ ọmọ-ọmọ ẹ̀yà ti a ṣe aṣẹju ni ọdun 2018 ṣe afihan pe o ni awọn ẹgbẹẹ mẹfa ti o ṣe monophyletic, pẹlu awọn ẹyin Amur ati Caspian ti o jẹ ọlọkan-ọlọkan lati awọn ẹyin Asia ti o wa ni ilẹ, ṣugbọn o ṣe afihan pe o ṣe aṣẹju ọna ọlọkan-ọlọkan ti awọn ẹyin mẹfa ti o wa laaye.

Photographs of skins of Caspian and Siberian tigers indicate that the main background colour of the Caspian tiger's fur varied and was generally brighter and more uniform than that of the Siberian tiger. The stripes were narrower, fuller and more closely set than those of tigers from Manchuria. The colour of its stripes was a mixture of brown or cinnamon shades. Pure black patterns were invariably found only on head, neck, the middle of the back and at the tip of the tail. Angular patterns at the base of the tail were less developed than those of Far Eastern populations. The contrast between the summer and winter coats was sharp, though not to the same extent as in Far Eastern populations. The winter coat was paler, with less distinct patterns. The summer coat had a similar density and hair length to that of the Bengal tiger, though its stripes were usually narrower, longer and closer set. It had the thickest fur amongst tigers, possibly due its occurrence in the temperate parts of Asia.

Aworan aworan ti o fi se afi Caspian ati Siberian tigersi mu ki agbala akara funfun ti Caspian tigeri furi duro ati pe o jẹ akara funfun ati uniform ju ti Siberian tigeri lo. Awọn ẹ̀rọ̀ wọ́n jẹ́ kẹ́tẹ́kẹ́tẹ́, wọ́n jẹ́ fuller ati wọ́n jẹ́ closely set ju awọn ti tigers lati Manchuria. Akara ti awọn ẹ̀rọ̀ wọ́n jẹ́ apẹẹrẹ ti brown tabi cinnamon shades. Aworan pupa dudu wọ́n jẹ́ iranlọwọ funfun ni oju, orun, ile ti ẹ̀rọ̀ ati ni ọna ti ẹ̀rọ̀. Aworan angular ni ibi ti ẹ̀rọ̀ wọ́n jẹ́ kẹ́tẹ́kẹ́tẹ́ ju awọn ti Far Eastern populations. Ipinle ti o wa laarin awọn coat ti ojo ati ojojumọ jẹ́ gidi, sugbon ko si iye ti Far Eastern populations. Coat ti ojojumọ jẹ́ paler, pẹlu awọn ẹ̀rọ̀ ti ko duro. Coat ti ojo ti ari ẹ̀rọ̀ ti o duro ati igi ti ari ẹ̀rọ̀ ti o duro bi ti Bengal tiger, sugbon awọn ẹ̀rọ̀ wọ́n jẹ́ kẹ́tẹ́kẹ́tẹ́, longer ati closely set. O ni afi ti o duro ju awọn tigers lo, bẹẹ ni o ba ti o wa ni awọn agbegbe ti ojojumọ ti Asia.

Male Caspian tigers had a body length of and weighed ; females measured in head-to-body and weighed . Maximum skull length in males was , while that of females was . Its occiput was broader than of the Bengal tiger.

Eka okunrin ti Caspian tigers ni ile ati wọ́n kó ; obinrin naa ni ni head-to-body ati wọ́n kó . Oju orí pẹ̀tẹ̀ẹ̀ lọ́pọ̀lọpọ̀ ni okunrin ni , èyí ti obinrin ni . Ọ̀pọ̀ rẹ̀ jẹ́ olókè ju ti ti Bengal tiger lọ.

Some individuals attained exceptional sizes. In 1954, a tiger was killed near the Sumbar River in Kopet-Dag, whose stuffed skin was put on display in a museum in Ashgabat. Its head-to-body length was . Its skull had a condylobasal length of about , and zygomatic width of . Its skull length was , hence more than the known maximum of for this population, and slightly exceeding skull length of most Siberian tigers.

Ọ̀pọ̀ ẹ̀dá tó ń ṣe àṣẹ àwọn ẹ̀dá tí ó ga jùlọ. Ní ọdún 1954, a pa ẹ̀dá kan ní ẹ̀gbẹ̀ odò Sumbar ní Kopet-Dag, tí wọ́n fi ẹ̀jẹ̀ rẹ̀ sílẹ̀ ní ilé ìṣeré ní Ashgabat. Ìfọ̀n àti ìṣọ̀n rẹ̀ jẹ́ . Akọ́ rẹ̀ ní àkójọpọ̀ àwọn ẹ̀jẹ̀ tí ó tó , àti ìwọ̀n zygomatic tí ó tó . Ìfọ̀n akọ́ rẹ̀ jẹ́ , èyí tó ju ìfọ̀n tí a mọ̀ sí ìpele kejì fún àwọn ẹ̀dá yìí lọ, àti ìfọ̀n akọ́ tí ó ju ìfọ̀n akọ́ àwọn ẹ̀dá Siberian tigers lọ.

In Prishibinske, a tiger was killed in February 1899. Measurements after skinning revealed a body length of between the pegs, plus a long tail, giving it a total length of about . Measurements between the pegs of up to are known. It was said to have been "a tiger of immense proportions" and "no smaller than the local horse breeds." It had rather long fur.

Ní Prishibinske, a pa agbọn ní oṣù kejì 1899. Àwọn ìpèsè lẹ́yìn tí wọ́n ti fi ẹran rẹ̀ jáde mú kí a mọ̀ pé ó ní ogun ọ̀tún láàrin àwọn ẹ̀rọ̀, pẹ̀lú ẹ̀rọ̀ ogun ọ̀tún tó mú kí ó jẹ́ pé ó ní ogun ọ̀tún tó ń lọ. Àwọn ìpèsè láàrin àwọn ẹ̀rọ̀ tó ń lọ sí ni a mọ̀. A sọ pé ó jẹ́ "agbọn tó ń lọ" àti "kò tó kéré ju àwọn ẹ̀rọ̀ ọ̀gbẹ̀ wọn lọ". Ó ní ẹran tó ń lọ.

Skull size and shape of Caspian tigers significantly overlap with and are almost indistinguishable from other tiger specimens in mainland Asia.

Ipo ati ape orí Caspian tigers da lori ati ko le rí bí àwọn oríṣiríṣi tigers míràn ní Asia alágbèèjá.

Historical records show that the distribution of the tiger in the region of the Caspian Sea was not continuous but patchy, and associated with wetlands such as river basins, lake edges and sea shores. In the Middle Ages, it inhabited the steppes and forest steppes of Ukraine and southern Russia. In the 19th century, tigers occurred in:

Apejuwe itan fi han pe ki ipese ojiji ti ojiji ni agbegbe Okun Caspian ko si wu, sugbon o je apejuwe, ati pe o je dida si awon ile ajeji bi awon ile odò, awon apa odo, ati awon ile okun. Ni ode oni, o gbe ni awon igbo ati awon igbo igbo ti orile-ede Ukraine ati Russia guusu. Ni ode ogun odun, ojiji wa ni:

the Eastern Anatolia Region, which is considered to have been the westernmost area where tigers occurred. Records are known from the region of Mount Ararat, Şanlıurfa, Şırnak, Siirt and Hakkari Provinces in eastern Turkey; in the Hakkari Province tigers possibly occurred up to the 1990s. The only confirmed record in Iraq dates to 1887 when a tiger was shot near Mosul, which is considered to have been a migrant from southeastern Turkey. There are also claims of historical tiger presence in the area of the Tigris–Euphrates river system in Iraq and Syria.

Agbegbe Anatolia Ilaorun, ti a n so pe o je agbegbe iwoorun toko toko ti ko omo ogun wọle. Awọn iwe a mọ ni agbegbe Mount Ararat, Şanlıurfa, Şırnak, Siirt ati Hakkari Provinces ni Turkey ilaorun; ni Hakkari Province, ko omo ogun wọle titi di 1990s. Iwe ti a ti daju ni Iraq waye ni 1887 nigba ti a pa ko omo ogun lẹgbẹẹ Mosul, ti a n so pe o je alailẹgbẹ lati Turkey guusuilaorun. Awọn iroyin tun wọle pe ko omo ogun wọle ni agbegbe awọn odò Tigris–Euphrates ni Iraq ati Syria.

the extreme southeast of the Caucasus, such as in hilly and lowland forests of the Talysh Mountains, in the Lenkoran Lowlands, in the lowland forests of Prishib, from where tigers moved into the eastern plains of the Trans-Caucasus up to the Don River basin; the Armenian and Zangezur Mountains of northwestern Persia. In Iran, historical records are known only from along the southern coast of the Caspian Sea and adjacent Alborz Mountains.

apaiwoorun ilaorun Caucasus, bi apere re ni igbo oke ati igbo ala ti oke Talysh, ni Lenkoran Lowlands, ni igbo ala ti Prishib, nibiti agbọn ja lati inu igbo ala naa lo si apaiwoorun ilaorun Trans-Caucasus titi de basin odò Don; oke Armenian ati Zangezur ti ariwa-ilaorun Persia. Ni Iran, a mọ iwe itan lati ibi oke gúúsù ti okun Caspian ati oke Alborz ti o bọ si.

Central Asia, such as in southwestern Turkmenia along the Atrek River and its tributaries, and the Sumbar and Chandyr Rivers; in the western and southwestern parts of Kopet-Dag; in the environs of Ashkabad in the northern foothills; in Afghanistan along the upper reaches of Hari-Rud at Herat, and along the jungles in the lower reaches of the river; around Tedzhen and Murgap and along the Kushka and Kashan rivers; in the Amu Darya basin as far the Aral Sea and along the entire coast of the Aral Sea; along the Syr-Darya to the Fergana Valley as far as Tashkent and the western spur of Talas Alatau; along the Chu and Ili Rivers; all along the southern shore of Lake Balkhash and northwards into the southern Altai Mountains, and to southeastern Transbaikal or Western Siberia in the east. In China, it occurred in the Tarim, Manasi River and Lop Nur basins.

Arin Afrika, bi ó tilẹ̀ jẹ́ ní guusu ilẹ̀ Turkmenia lọ́dọ̀ Odò Atrek àti awọn odò mẹta rẹ̀, àti Odò Sumbar àti Chandyr; ní àríwá àti guusu ilẹ̀ Kopet-Dag; ní agbègbè Ashkabad ní àríwá ẹ̀gbẹ̀; ní Afghanistan lọ́dọ̀ àwọn ẹ̀gbẹ̀ ọ̀nà ẹlẹ́rù Hari-Rud ní Herat, àti lọ́dọ̀ igbó ní àwọn ẹ̀gbẹ̀ ẹlẹ́rù odò; ní agbègbè Tedzhen àti Murgap àti lọ́dọ̀ Odò Kushka àti Kashan; ní àgbègbè Amu Darya títí dé Òkun Aral àti lọ́dọ̀ gbogbo àgbègbè Òkun Aral; lọ́dọ̀ Odò Syr-Darya títí dé Valley Fergana títí dé Tashkent àti àríwá ẹ̀gbẹ̀ Talas Alatau; lọ́dọ̀ Odò Chu àti Ili; gbogbo lọ́dọ̀ àgbègbè ọ̀nà ìlà-oòrùn Òkun Balkhash àti lọ́dọ̀ àríwá ẹ̀gbẹ̀ Òde Altai, àti títí dé àríwá-ìlà-oòrùn Transbaikal tàbí Western Siberia ní ẹ̀gbẹ̀. Ní China, ó wà ní àgbègbè Tarim, Odò Manasi àti Lop Nur.

Its former distribution can be approximated by examining the distribution of ungulates in the region. Wild boar was the numerically dominant ungulate in forested habitats, along watercourses, in reed beds and in thickets of the Caspian and Aral Seas. Where watercourses penetrated deep into desert areas, suitable wild pig and tiger habitat was often linear, only a few kilometers wide at most. Red and roe deer occurred in forests around the Black Sea to the western side and around the southern side of the Caspian Sea in a narrow belt of forest cover. Roe deer occurred in forested areas south of Lake Balkash. Bactrian deer lived in the narrow belt of forest habitat on the southern border of the Aral Sea, and southward along the Syr-Darya and Amu Darya rivers.

Ipo ilu ti o ti wa ni a le ri nipasẹ ifiweranṣẹ awọn ungulate ninu agbegbe naa. Efon ile ni ungulate to n ṣe pataki ninu awọn ile igbo, lẹgbẹẹ awọn odò, ninu awọn ile reed ati ninu awọn ile igbo ti Caspian ati Aral Seas. Nibi ti awọn odò ṣe igbero si awọn agbegbe desert, ile efon ile ati ile koja ti o da lori ni akoko ti o ṣe linear, oju-iwe kan kilomita ni akoko ti o ṣe pataki. Deer pupa ati deer roe wa ninu awọn igbo lẹgbẹẹ Black Sea si oke osi ati lẹgbẹẹ ile igbo ti Caspian Sea ninu ile igbo kan. Deer roe wa ninu awọn ile igbo si apai Lake Balkash. Deer Bactrian gbe ninu ile igbo kan lẹgbẹẹ ile igbo ti Aral Sea, ati si apai lẹgbẹẹ awọn odò Syr-Darya ati Amu Darya.

Throughout the late Pleistocene and Holocene, the Caspian tiger population was likely connected to the Bengal tiger population through corridors below elevations of in the Hindu Kush, before gene flow was interrupted by humans.

Lati igba Pleistocene akoko ati Holocene, awon tiger Caspian jẹ́ dandan pe wọn ti ni ipa pẹlu awọn tiger Bengal pẹlu awọn ọna ẹgbẹẹgbẹrẹ ni ibiti awọn ọkọ̀ ọsan ti Hindu Kush, ṣaaju ki awọn ẹnian ma ṣe ifọwọsi ipa geni.

The demise of the Caspian tiger began with the Russian colonisation of Turkestan during the late 19th century.

Iku Caspian tiger bere si ni igba ti awon Russia fi igberiko re sori Turkestan ni akoko 19th century.

Tigers were killed by large parties of sportsmen and military personnel who also hunted tiger prey species such as wild pigs. The wild pig range underwent a rapid decline between the middle of the 19th century and the 1930s due to overhunting, natural disasters, and diseases such as swine fever and foot-and-mouth disease, which caused large and rapid die-offs.

Egungun ti ku nipasẹ awọn ẹgbẹ ọlọpọ ti awọn ọlọje idaraya ati awọn oṣiṣẹ ọrọ-aje ti o ṣeje awọn ẹranko egungun bi awọn ẹja igbó. Agbegbe awọn ẹja igbó ti ṣe ipari iṣẹju kan ṣaaju ọdun 1930 ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu karun ti ọdun 19th ati 1930s ni oṣu kar

The extensive reed beds of tiger habitat were increasingly converted to cropland for planting cotton and other crops that grew well in the rich silt along rivers.

Ipa reed beds tobi tobi ti ile onirunrin ni a n lo si ile oko fun itaja ala ati ohun elo miiran ti o n gbe tobi ni ila silt tobi lodo odò.

The tiger was already vulnerable due to the restricted nature of its distribution, having been confined to watercourses within the large expanses of desert environment.

Egungun ti ku yara lati ibere, nitori ipinle rẹ ti ku pa, ti o ti ku pa si awọn omi ti o wa laarin agbegbe okunrin ti o tobi.

Until the early 20th century, the regular Russian army was used to clear predators from forests, around settlements, and potential agricultural lands. Until World War I, about 50 tigers were killed in the forests of Amu Darya and Piandj Rivers each year. High incentives were paid for tiger skins up to 1929. Wild pigs and deer, the prey base of tigers, were decimated by deforestation and subsistence hunting by the increasing human population along the rivers, supported by growing agricultural developments. By 1910, cotton plants were estimated to occupy nearly one-fifth of Turkestan's arable land, with about one half located in the Fergana Valley.

Tití di àkókò àwọn ọdún 1900, aṣọ̀ṣẹ́ ológun Rọ́síà tó wà lára wọ́n ń lo láti pa àwọn ẹranko aláìní àti àwọn ẹranko míràn kúrò nínú igbó, gbogbo agbègbè àti ilẹ̀ àwọn olùgbé, àti ilẹ̀ àwọn olùkọ̀tẹ̀mọ̀. Tití di Oṣù Kọkànlá Ọdún 1914, bẹ̀ẹ̀ ẹgbẹ̀rún mẹrin tàbí mẹ́fà àwọn ẹranko aláìní wọ́n pa nínú igbó Amu Darya àti Piandj Rivers lọ́dọọdún. Àwọn ènìyàn wọ́n ń fún àwọn ènìyàn tí wọ́n pa àwọn ẹranko aláìní owó títí di ọdún 1929. Àwọn ẹja àgbọ̀ àti àwọn ẹja míràn, àwọn ẹranko aláìní ń jẹ, wọ́n pa wọ́n kúrò nínú igbó àti àwọn ènìyàn ń pa wọ́n kúrò láti máa jẹ, àwọn ènìyàn tó ń gbé gbogbo agbègbè àti ilẹ̀ àwọn olùgbé, wọ́n ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, wọ́n sì ń gbé lára wọ́n, w

In China, tigers disappeared from the Tarim River basin in Xinjiang in the 1920s. They reportedly disappeared from the Manasi River basin in the Tian Shan Range west of Ürümqi in the 1960s.

Nílè China, àgbòn gbé ojú lọ sí agbègbè odò Tarim ní Xinjiang ní 1920s. Wọ́n sọ pé wọ́n gbé ojú lọ sí agbègbè odò Manasi ní Tian Shan Range gúúsù-ìlàòrùn Ürümqi ní 1960s.

In Turkey, a pair of tigers was allegedly killed in the area of Selçuk in 1943. Several tiger skins found in the early 1970s near Uludere indicated the presence of a tiger population in eastern Turkey. Questionnaire surveys conducted in this region revealed that one to eight tigers were killed each year until the mid-1980s, and that tigers likely had survived in the region until the early 1990s. Due to lack of interest, in addition to security and safety reasons, no further field surveys were carried out in the area.

Nílè Tọ́kì, ẹgbẹ́ ẹ̀jẹ̀ méjì wọ́n ń ṣe àkọsílẹ̀ pé wọ́n pa ní agbègbè Selçuk ní ọdún 1943. Àwọn ẹ̀jẹ̀ ẹ̀jẹ̀ tó wọ́n rí ní àárín ọdún 1970 ní Uludere mú kí a mọ̀ pé ẹ̀jẹ̀ wà ní apáìlàoòrùn Tọ́kì. Àwọn iṣẹ́ ìfọwọ́sowọ́pọ̀ tó wọ́n ṣe ní agbègbè náà mú kí a mọ̀ pé ẹ̀jẹ̀ kan sí mẹ́jọ wọ́n pa lọ́dọọdún títí dé ọdún 1980, àti pé ẹ̀jẹ̀ wọ́n ṣe é ṣe wà ní agbègbè náà títí dé ọdún 1990. Nítorí àìníṣe, àti àwọn ẹ̀sùn àti àṣẹ̀ṣe, kò sí iṣẹ́ ìfọwọ́sowọ́pọ̀ míràn tó wọ́n ṣe ní agbègbè náà.

In Azerbaijan, the last known tiger was killed in 1932; however, there were alleged sightings in the Talysh Mountains in later years.

Nínú Azerbaijan, eeyan kò mọ̀ sí ẹni tí ó kọ́ ọ̀gẹ̀dẹ̀ tẹ̀le, ó sì pa rẹ̀ ní ọdún 1932; ṣùgbọ́n, wọ́n sì ní ìròyìn pé wọ́n rí rẹ̀ ní òkè Talysh ní ọdún tó tẹ̀le.

In Iran, one of the last known tigers was shot in Golestan National Park in 1953. Another individual was sighted in the Golestan area in 1958.

Nílẹ̀ Iran, ọ̀kan nínú àwọn tiger tí a mọ̀ tẹ́lẹ̀ jẹ́ ìjà lọ́wọ́ Golestan National Park ní ọdún 1953. Àwọn mọ̀ ọ̀rẹ̀ míràn ní agbègbè Golestan ní ọdún 1958.

In Turkmenistan, the last known tiger was killed in January 1954 in the Sumbar River valley in the Kopet-Dag Range. The last record from the lower reaches of the Amu Darya river was an unconfirmed observation in 1968 near Nukus in the Aral Sea area. By the early 1970s, tigers disappeared from the river's lower reaches and the Pyzandh Valley in the Turkmen-Uzbek-Afghan border region.

Ní orílẹ̀-èdè Turkmenistan, àgbẹ̀jẹ́ ọ̀tẹ̀ tí a mọ̀ sí òkèrè tí a pa ní oṣù Kínní ọdún 1954 ní agbègbè odò Sumbar ní Kopet-Dag Range. Àtẹ̀jáde tó kẹ̀yìn láti ilẹ̀ ìgbẹ̀hìn odò Amu Darya jẹ́ ìrísí tí kò tíì fi òye rí ní ọdún 1968 ní Nukus ní agbègbè Okun Aral. Lẹ́yìn ọdún 1970, ọ̀tẹ̀rè parẹ̀ láti ilẹ̀ ìgbẹ̀hìn odò náà àti agbègbè Pyzandh Valley ní agbègbè ìbẹ̀wọ̀ Turkmenistan-Uzbekistan-Afghanistan.