title: Bib Fortuna

text: Fortuna appears in his disembodied droid walker form in a four-issue arc of the "" comic book entitled "" (1996). In it, he is the captive of Firith Olan, a fellow Twi-lek criminal who Fortuna had called to Tatooine prior to the death of Jabba the Hutt. Upon arriving and finding Fortuna's brain trapped in a droid walker, Olan begins operating his own criminal enterprise out of Jabba's palace, taking delight in mocking and torturing the helpless Fortuna. After Olan becomes injured, Fortuna has his own consciousness transferred into Olan's body, leaving Olan's brain now trapped within the droid. Afterward, Fortuna resumes his life of crime. Fortuna is also one of the main characters in the comic book "Star Wars: Jabba the Hutt: Betrayal" (1996), which is set before "Return of the Jedi". In the comic, Fortuna plots a revolt among Jabba's slaves, with the intention of capturing Jabba and taking over his criminal enterprise. The plot fails when it is interrupted by a separate assassination attempt against Jabba. One of Fortuna's co-conspirators, a red-skinned alien named Nivek, nearly gives Fortuna's plot away in front of Jabba, but Fortuna shoots him in the head to silence him.


title: Bib Fortuna

text: Fortuna appears in the 2000 video game "", in which the player participates in vehicular combat contests at the behest of Jabba the Hutt. Fortuna can be seen in the menu screen describing the various terrains the player could choose for the battles. Fortuna is a playable character in the video games "" (2006) and "" (2007). He also appears in the webcomic "Star Wars: The Clone Wars: The Valsedian Operation", which was first published between 2010 and 2011. In the comic, a group of Jedi including Anakin Skywalker, Obi-Wan Kenobi, and Ahsoka Tano investigate an illegal mining operation using slave labor in the Valsedian asteroid belt. The Jedi are informed of it by Jabba the Hutt, who believes his distant cousin Torpo is running the operation. However, upon investigation, the Jedi learn that the venture is secretly masterminded by Bib Fortuna. Fortuna plays a supporting role in "Smuggler's Gambit", a radio drama recorded live at "Star Wars" Celebration VI in Orlando, Florida in August 2012. The story follows Han Solo, Chewbacca, and Princess Leia searching for a location for a new Rebel base following the events of the first "Star Wars" film. After Solo and Chewbacca are captured and placed on sale at an auction, Fortuna attempts to buy them on behalf of Jabba the Hutt, entering into a bidding war with Prince Xizor of the criminal organization.


title: Bib Fortuna

text: Fortuna appears in the mobile strategy game "Star Wars Commander" (2014), in which he becomes involved in a conflict with a mercenary named Saponza. After Saponza kills multiple henchmen of Jabba the Hutt who had interfered with his property on Tatooine, Fortuna arranges for Saponza's home to be burned down. Fortuna makes a brief appearance in the first issue of the "Star Wars: Darth Vader" comic book series, released by Marvel Comics in February 2015. In the comic, Darth Vader forcibly enters Jabba's palace to meet with the Hutt, and Fortuna briefly tries to stop him, but becomes frightened and allows him to pass after Vader threatens him with his lightsaber. The scene mirrors that of Fortuna confronting Luke Skywalker as he enters the palace in "Return of the Jedi", but establishes a direct contrast between Luke's non-aggressive behavior toward Fortuna and Vader's more threatening manner.


title: Bib Fortuna

text: A Twi'lek character named Beezer Fortuna, a cousin of Bib Fortuna, appears in the "Star Wars" anthology film "Rogue One" (2016), which is set shortly before the events of the first "Star Wars" film. Beezer's look is based upon preliminary sketches of Bib Fortuna from "Return of the Jedi". His nickname among "Rogue One"<nowiki>'</nowiki>s crew during production was "Cousin Bib", so Lucasfilm executive Pablo Hidalgo made their familial connection official while writing Beezer's back story. The character's first name derives from the "High Beeser of Hoth", a title belonging to Bib Fortuna in early "Return of the Jedi" drafts, but which was ultimately abandoned in later versions. In "Rogue One", Beezer is one of the chief strategists of an extremist rebel faction led by Saw Gerrera, and he can be seen in the group's hideout on the planet Jedha. According to Beezer's back story, he resents his family's participation in the criminal underworld, and is more politically-minded than his other relatives. The actor who portrayed Beezer Fortuna was fitted with contact lenses to make him more closely resemble Bib Fortuna.


title: Bib Fortuna

text: Outwardly, Bib Fortuna appears very loyal and obedient to Jabba the Hutt, hardly ever leaving his side, and regularly supplying him with advice and counsel. He demonstrates tremendous patience when dealing with Jabba's bad habits, enduring his mood swings, and occasionally violent outbursts. Fortuna also employs this patience while dealing with Jabba's visitors, who range from drunken thugs to overbearing emissaries. However, "Star Wars" media and works outside of the films have established that Fortuna's obedience and good manners toward Jabba are almost entirely an act, and that internally he serves his own interests and actively plots against his employer. In reality, Fortuna feels a deep contempt for Jabba, as he reveals to his co-conspirators during a plot to kidnap and eventually assassinate the Hutt in the 1996 comic book "Star Wars: Jabba the Hutt: Betrayal":


title: Bib Fortuna

text: Fortuna is a powerful and dreaded individual in the galaxy's underground community, though also somewhat cowardly, and has a large capacity for cruelty and violence. His sadism is on display in "Return of the Jedi", where he looks forward to seeing Luke Skywalker and his friends get fed to the sarlacc. Fortuna has a very vindictive personality, demonstrated by his attack against his home planet of Ryloth as an act of revenge for the death sentence he previously received there. He often resorts to underhanded means to achieve his objectives, acting out against friends and foes alike. This was exemplified by his willingness to kill one of his allies, the alien Nivek in "Jabba the Hutt: Betrayal", when he risked exposing Fortuna's plot to assassinate Jabba. Fortuna is cunning and manipulative, illustrated by the way in which he presents himself to Jabba as meek and passive in order to achieve his goals. However, Skywalker's use of the Force to influence his mind in "Return of the Jedi" indicates Fortuna lacks a strong will, as Jedi mind tricks are more effective against weak-minded and susceptible individuals. Michael Carter, the actor who portrayed Bib Fortuna in "Return of the Jedi", said he found the character "stupid in an endearing way" and "quite innocent, yet quite scary", and believed he could have led a good life if he had been raised in a different place.


title: Bib Fortuna

text: Bib Fortuna was created by Lawrence Kasdan and George Lucas, co-writers of the "Return of the Jedi" screenplay. In early drafts of the script, Fortuna was referred to by the title "High Beeser of Hoth", a reference to the planet Hoth, the ice planet that served as the home of a secret Rebel base in the "Star Wars" film "The Empire Strikes Back". Initially, the "Return of the Jedi" screenplay did not specify that Fortuna belonged to an alien species, but he was described in the final script as "a humanlike alien with long tentacles protruding from his skull".


title: Bib Fortuna

text: Fortuna was designed by Phil Tippett, the visual effects artist who designed most of the creatures for "Return of the Jedi". Early sketches of the character were drawn by concept artists Nilo Rodis-Jamero, and Ralph McQuarrie. Several of these sketches looked very different from Fortuna as he appeared in the final film. For example, one of Rodis-Jamero's sketches portrayed Fortuna with a thin, cylindrical head with gills along the sides, and another with a flat-topped, triangularly-shaped head. Those discarded sketches served as the basis for another "Star Wars" species called the Adnerem, which appear in the "Star Wars: The Roleplaying Game" and other later works. Other variations by Rodis-Jamero presented Fortuna in blue, priest-like robes, occasionally holding a sceptre, with a lined, elongated face and narrow slits for eyes and nostrils.


title: Bib Fortuna

text: McQuarrie's early sketches of Bib Fortuna were, in his words, "more human" than the final design. He drew several versions with a variety of alien faces, as well as various costume elements like a tall top hat, and silver snow goggles, the latter of which George Lucas particularly enjoyed. McQuarrie said his early Bib Fortuna sketches were among his favorite renderings from the entire "Star Wars" trilogy, though he said the final version was better and "weirder" than his early designs. One of Rodis-Jamero's concepts was the one ultimately selected, and maquettes of the character were created by "Monster Shop" of Industrial Light & Magic, the motion picture visual effects company founded by Lucas.


title: Bib Fortuna

text: Bib Fortuna's costume in "Return of the Jedi" was designed by Rodis-Jamero and Aggie Guerard Rodgers, and Nick Dudman worked as a makeup artist on the character. Fortuna involved the first prosthetic makeup Dudman worked upon. Michael Carter, the actor who portrayed Fortuna, spent three months undergoing extensive makeup casts and tests for the character at Elstree Studios before shooting began. Molds were made from his hands and head. Several foam appliances were sculpted to conform to Carter's face, and molds were made and cast into foam latex, which were then trimmed and carefully glued to the actor's face. It took about eight-and-a-half hours to apply the makeup to Carter the first time, though the process was eventually reduced to slightly under an hour. Carter had been told a great deal of makeup would be involved with the part, but he said, "I did not know what I was letting myself in for when it came to having to wear so much makeup. It did come as a bit of a shock."


title: Bib Fortuna

text: Carter wore a large rubber headpiece, which included two large, slug-like tentacles that twisted around his neck. Each tentacle was five feet long and draped ornamentally around Fortuna's shoulders. The headpiece included a large waddle dangling underneath his chin, and large bulges above each of his eyes, which were intended to be sensory brain areas. An intricate set of "air bladders", or foam and latex bubbles, were fitted onto Carter's temples and brows and inflated via hoses operated off-screen to give the impression of pulsation. Once the headpiece was placed on, Carter had to wear it for the remainder of the shooting day, which was often difficult for the actor. During one day, Carter had an itch for six hours that became so uncomfortable that Dudman split the headpiece down the middle so Carter could scratch it. After that point, the headpiece was specifically designed so it could be opened up the middle. As Carter sweated due to the heat under the costume, the makeup would start to come loose and the glue would dissolve, requiring it to be constantly reapplied.


title: Bib Fortuna

text: Carter wore dayglow orange contact lenses, which created a glowing effect for the character's eyes, something specifically requested by director Richard Marquand. Carter felt they gave Bib Fortuna "a feminine look". They were hard contact lenses, which covered the entire surface of Carter's eyeballs, except for holes drilled through the middles. This gave him tunnel vision and severely limited his ability to see, and he kept accidentally walking into parts of the set as a result. An optician was available for Carter at all times during filming to apply the lenses. Carter said the contacts were made in "too much of a rush" and were too small, so he suffered abrasions of the cornea, slightly hindering his vision until about a week after filming ended. Carter also wore sharp, pointed teeth, which were filed down to create what Tippett called a "ghastly focal point" for his dialogue scenes. The teeth would occasionally slip out of Carter's mouth during shooting, at times striking against actors or crew members around him. The teeth made it difficult for the actor to speak, and he had to strongly articulate Fortuna's lines to make the lip-movement look appropriate.


title: Bib Fortuna

text: The character wore soft-soled shoes, meant to allow for silent movement. Carter wore lifts on his feet to make himself taller, and props inside his costume made his arms appear longer. Claws were placed on his fingertips, fitted through fingerless gloves that Tippett said gave Fortuna "a spidery reach". Carter said the makeup had "an immediate effect" and once it was fully applied he would "kind of meditate it for a moment" because it ultimately helped dictate his performance. However, he also said the large amount of makeup made acting more difficult, adding: "I was a big pile of moving rubber. And when I wasn't moving, I was like a piece of furniture." Due to strict security measures to prevent secrets of the film being leaked to the public, whenever Carter was brought outside to be moved to and from the set at Elstree Studios, he was covered with a dustbin liner so he would not be seen. Carter would stand very still between takes to avoid disrupting the makeup, and occasionally crew members, seeing him standing among the various puppets and alien props, would believe he was a prop and attempt to lift him.


title: Bib Fortuna

text: Makeup artist Shaune Harrison worked on the Bib Fortuna character in "The Phantom Menace", as well as several other creatures and aliens in the film, including Jar Jar Binks.


title: Bib Fortuna

text: It took five weeks to film Bib Fortuna's scenes for "Return of the Jedi". Michael Carter initially received little information about the character except that he was "an alien, and not a very nice one". Due to the secrecy surrounding the film, Carter was only given the script pages that included his specific scenes. He got them about four days before filming began, with all dialogue and information about other characters redacted. Since Fortuna's dialogue was in an alien language, and since he had little knowledge about the rest of the film, Carter did not know anything about the storyline of "Return of the Jedi" during the filming process. In order to realistically deliver dialogue in a fictional language, Carter would make up his own meaning for the words he was speaking, which made it easier for him to find the correct vocal delivery and facial expressions for the performance.


title: Bib Fortuna

text: Carter was present from the very first day of shooting on January 11, 1982, which marked the final costume test on Stage 6 of Elstree Studios, in the set for the corridor of Jabba's palace. The scenes in which Bib Fortuna and Luke Skywalker meet at the palace entrance were filmed on January 12 and 13. During filming for Bib Fortuna's first chronological appearance in the film, when he first meets R2-D2 and C-3PO, Carter could not see the mark on the ground where he was supposed to stop due to the limited visibility caused by his contact lenses. As a result, the crew set up a 2-by-4 piece of wood on the ground for him to stop his feet against. During the first take of the shot, Carter tripped over the board and fell. During another scene, Bib Fortuna lifts a captured Princess Leia and pushes her toward Jabba the Hutt, so he can lick her. While filming the scene, Carter misjudged actress Carrie Fisher's weight, and lifted her so quickly that he nearly pushed her straight into the mouth of the Jabba puppet, causing her to scream.


title: Bib Fortuna

text: Several scenes involving Fortuna were cut from "Return of the Jedi", including one in which Salacious B. Crumb, the small creature that sits at the tail of Jabba the Hutt, vomits into Fortuna's beverage. In another cut scene, Fortuna engages in a provocative dance with Jess, one of Jabba's dancers, who was portrayed by Amanda Noar. George Lucas eliminated the scene because he felt it was inappropriate for children. Another cut scene involved a longer exchange between Luke Skywalker and Fortuna after Skywalker first appeared at Jabba's palace. In the original scene, the two had a long period of dialogue while walking down the corridor, with both actors speaking the fictional language of Huttese. During one take, Carter had to shout at Skywalker, and his false teeth accidentally came out and hit actor Mark Hamill's face. The scene was ultimately cut and a shorter scene with Fortuna and Skywalker speaking in a stairway was used instead. During filming, both actors spoke in English, but Fortuna's dialogue was dubbed in Huttese later.


title: Bib Fortuna

text: The role of Bib Fortuna was cast very early in the production process for "Return of the Jedi" because makeup artist Stuart Freeborn wanted to get started on creating the character's look as quickly as possible. Michael Carter came to the attention of "Return of the Jedi" casting director Mary Selway, who saw him perform in a musical in the West End theatre section of London in the early 1980s. Director Richard Marquand had also seen and enjoyed Carter's theater work, and wanted to cast him as Fortuna; Marquand described him as a "terrific actor". He was also drawn to Carter for the role because he wanted Fortuna to be very tall, and Carter was about six feet tall.


title: Bib Fortuna

text: Marquand invited Carter to meet at a studio in Elstree Studios to discuss a role he was casting in a film, which Marquand would only identify by its fake working title "Blue Harvest". Carter was performing on a television series at the time. Carter's train was late and Marquand was in a meeting when he arrived, and the front desk forgot to inform Marquand that he arrived, so Carter waited for an hour without being called in. Marquand happened upon Carter as he was leaving for the day, and the meeting took place. During the 30-minute meeting, Marquand informed him the part was an alien in a science-fiction film, also describing it as a children's film, and that Carter could have the role without auditioning if he wanted it, but Marquand could not discuss any details about the character or film because it was a "top secret Hollywood movie". Carter was initially not sure the part interested him, but Marquand persisted, and Carter reluctantly agreed. Only then did Marquand reveal that it was a "Star Wars" film. Carter was sworn to secrecy about the role, but he told his family about the part anyway, and the next day his daughter discussed it publicly with a friend at her school.


title: Bib Fortuna

text: Carter had never seen the original "Star Wars" film, and had only seen the sequel, "The Empire Strikes Back", because he was working at the time in a theater production with Anthony Daniels, who played C-3PO in the film. Following his appearance in "Return of the Jedi", Carter was offered several alien roles or parts that involved heavy amounts of prosthetics. For example, he was cast in the role of Radu Molasar, a monster and warlord in the Michael Mann film "The Keep" (1983), as a direct result of his work in "Return of the Jedi". Carter received letters and autograph requests from "Star Wars" fans for decades after the film's release, and has made appearances at sci-fi and fantasy conventions. Carter was offered the opportunity to reprise the role of Bib Fortuna in the prequel "The Phantom Menace", but he declined due to the rigors associated with the makeup application.


title: Bib Fortuna

text: The voice of Bib Fortuna in "Return of the Jedi" was performed by Erik Bauersfeld, a radio dramatist who also voiced the alien character Admiral Ackbar in the film, and had unsuccessfully auditioned to voice Yoda in "The Empire Strikes Back". He was cast after "Star Wars" sound designer Ben Burtt approached him in 1983, while Bauersfeld was producing a radio drama with Lucasfilm sound designer Randy Thom and suggested he audition for the part of Ackbar. The recording session for Fortuna's dialogue took about 30 minutes, and Bauersfeld made up the voice on the spot after looking at a photograph of Fortuna, without having any other information about the character. Since Fortuna spoke in the Huttese alien language, Bauersfeld had no idea what the character was saying when he recited the lines. He said of the process: "Ben (Burtt) gave me a general idea and I just did it."


title: Bib Fortuna

text: Bauersfeld did not receive an on-screen credit for his roles as Fortuna or Ackbar, and his association with the characters was unknown for years after the film was released. Michael Carter did not know another actor's voice was used, as late as 2004 he believed it was his own voice, saying in an interview: "It sounded like my voice." Eventually fans learned Bauersfeld played the parts and he began to receive multiple fan letters every week, which continued for the rest of his life. Bauersfeld said he appreciated the passion of fans and responded to every autograph request, but that he was not particularly knowledgeable about "Star Wars" himself; in 2011 interview, he said he had not seen "Return of the Jedi" since it first came out, still had not seen the first "Star Wars" film, and knew no details about Fortuna, asking the interviewer: "He was the bad guy, wasn't he?"


title: Bib Fortuna

text: Matthew Wood, a sound editor who has worked on multiple "Star Wars" films, portrayed Fortuna in the podrace scenes in "The Phantom Menace", which marked his first acting role. Wood has also provided the voices of General Grievous, Ello Asty, battle droids, and various other minor "Star Wars" characters. Wood was offered the part after George Lucas saw him in a doorway during a meeting and felt he looked right for the part. According to Wood, Lucas told him "You're kind of skinny and creepy" before offering him the part and sending him to wardrobe to be fitted with prosthetics.


title: Bib Fortuna

text: Although in the scene Fortuna appears alongside Jabba and several other characters inside a private booth, Wood was alone when his scenes were filmed, and his footage was digitally combined with footage of the other characters later in post-production. Wood interacted with a light stand during filming, which was later replaced by a visual effect creating Jabba. The moment when Wood woke up a sleeping Jabba at the end of the podrace was a joke conceived by the motion picture visual effects company Industrial Light & Magic during the making of the film, which George Lucas loved. Wood reprised the role of Fortuna in the "Smuggler's Gambit" radio drama, recorded live at "Star Wars" Celebration VI in Orlando in August 2012. This time he provided the voice for the character, something he did not do in the film.


title: Bib Fortuna

text: Bib Fortuna was voiced by David Dukes in the radio dramitization of "Return of the Jedi" released in 1996 by Highbridge Audio. Alan Ruscoe, who portrayed the Jedi master Plo Koon and the Neimoidian captain Daultay Dofine in "The Phantom Menace", also portrayed Fortuna in a scene before the Galactic Senate, but it was ultimately cut from the final film.


title: Bib Fortuna

text: The name and first photo of Bib Fortuna were first revealed to the public in a "Return of the Jedi" poster book published by Paradise Press in May 1983, the first of four such magazines released in advance of the film. In his 1983 review of "Return of the Jedi", Desmond Ryan of "The Philadelphia Inquirer" cited Fortuna as one of the diverse types of alien species in the film that "reaffirms the inventiveness and inspiration of Lucas and his legions of craftsmen and technicians". Ryan also said Fortuna "looks like David Bowie with a large bratwurst sausage growing out of his ear".


title: Bib Fortuna

text: Fortuna was ranked No. 25 on "Rolling Stone"<nowiki>'</nowiki>s list of the 50 best "Star Wars" characters, and was also included among "The Daily Telegraph"<nowiki>'</nowiki>s list of the best characters from the franchise. CNET writer Sam Stone called Fortuna "one of the most memorable" characters and alien races from "Return of the Jedi" and described him as "a fan-favorite character". "Star Wars Insider" writer Calum Waddell described Bib Fortuna as "one of the standout supporting characters" of "Return of the Jedi". Scott Chernoff of "Star Wars Insider" said Michael Carter conveyed "a touching vulnerability through his makeup and contact lenses, transforming what could have been a stock character into a sadly haunting figure".


title: Bib Fortuna

text: Fortuna's line "De wanna wanga", which he speaks upon first meeting C-3PO and R2-D2 in "Return of the Jedi", has become a well-known line of "Star Wars" dialogue. Michael Carter has noted the character he portrayed became far more famous than the actor himself, joking: "Bib Fortuna's very famous; I'm hardly known within my own family." Daniel Mallory Ortberg, an author and editor who has written a "Star Wars" short story for the anthology book "From a Certain Point of View" (2017), has said "Tales from Jabba's Palace" and reading the back story of Bib Fortuna and other characters was one of the first times the franchise strongly resonated with him. Comedian and actor Nick Swardson called Bib Fortuna one of his favorite "Star Wars" characters.


title: Bib Fortuna

text: An action figure of Bib Fortuna was released by Kenner Products in 1983, coinciding with the release of "Return of the Jedi". The toy was distributed in Europe by the company Palitoy. The action figure came with a miniature staff, and Fortuna wears a brown cloak in most versions, but five known prototypes exist in which he wears a white cloak, and they are considered among the most rare and valuable "Star Wars" toys. Several other Bib Fortuna products were released in 1983, including an eraser by Butterfly Originals, and a cookie by Pepperidge Farm. A Bib Fortuna toy was released in 1993 as part of the "Star Wars" Bend-Ems line by JusToys, a collection of rubber figures that could be easily bent and twisted.


title: Bib Fortuna

text: In 1996, Bib Fortuna was one of the "Star Wars" characters to receive its own Micro Machines mini-transforming playsets by Galoob. The toy line included miniature versions of the head of each character, which opened to reveal a small set from the film and a figurine of the character itself. The Fortuna playset was sold as part of a collection that also included an Imperial Scout Trooper and Figrin D'an, one of the Mos Eisley Cantina band members. Fortuna was also included in a Micro Machines playset of the planet Tatooine, which included both Jabba's palace and the Great Pit of Carkoon. A Bib Fortuna action figure was released in 1997 as part of Kenner's "The Power Of The Force" toy line, as part of the 20th anniversary of the release of the first "Star Wars" film. The toy came with a small gun described as a "black hold-out blaster". Also in 1997, Kenner released a two-pack of 12-inch figures of Fortuna and Luke Skywalker.


title: Bib Fortuna

text: A ceramic mug of Fortuna was released in 1996 as part of the "Star Wars" Classic Collectors Series Figural Mug line by the toy company Applause. Between 1997 and 1999, the Japanese company JAP Inc. created a series of large silver sculpted "Star Wars" rings from the various "Star Wars" characters, including Bib Fortuna. A Lego figurine of Bib Fortuna was created and released as part of multiple Lego "Star Wars" toy sets, including one of the front gate of Jabba's palace released in 2003, and another of the interior of the palace released in 2012. Fortuna was one of 55 "Star Wars" skins released in November 2014 for the Xbox 360 and Xbox One versions of the video game "Minecraft". A Funko Pop figurine of Fortuna was released in 2015. In 2017, the company Gentle Giant made a limited run of 750 miniature busts of Bib Fortuna, utilized 3-D technology to create a 1:6-scale replica of the character.


title: Bib Fortuna

text: An auction was held by the Dallas-based Heritage Auctions in August 2018 for a collection of 33 rare "Star Wars" action figures that were expected to sell for about $360,000. The collection, which was sold by an anonymous collector from Dubai, included one of the five known original prototypes of Fortuna's action figure, which alone was expected to sell for about $30,000. The 1980s master model of the Bib Fortuna toy by Kenner Products was sold at the Thornaby-based Vectis Auctions for in April 2019. It had an estimated value of before the auction, but sold for the highest amount of any of the "Star Wars" prototypes auctioned, including an Emperor's Royal Guard that sold for and Ewok named Logray that sold for . The models were saved by a Palitoy tooling manager who had kept them following the release of the figures. A rare encapsulated Bib Fortuna action figure included in an auction in Pennsylvania in November 2019 was expected to seek between $10,000 and $75,000.


title: Force 10 from Navarone (film)

text: Force 10 from Navarone is a 1978 war film loosely based on Alistair MacLean's 1968 novel of the same name. It is a sequel to the 1961 film "The Guns of Navarone". The parts of Mallory and Miller are played by Robert Shaw (who died before the film was released), and Edward Fox, succeeding in the roles originally portrayed by Gregory Peck and David Niven. It was directed by Guy Hamilton and also stars Harrison Ford, Carl Weathers, Barbara Bach, Franco Nero (in a "plastic surgery" role previously played by Tutte Lemkow), and Richard Kiel.


title: Force 10 from Navarone (film)

text: The film gets its title from the Alistair MacLean book of the same name, but bears little resemblance to the narrative of the novel. The differences are so apparent that MacLean would go on to loosely adapt part of the screenplay into his 1982 book "Partisans".


title: Force 10 from Navarone (film)

text: In 1943, Major Keith Mallory and Sergeant Donovan "Dusty" Miller from British Commandos are sent to find and eliminate Nicolai, a German spy who previously betrayed the Navarone mission to the Germans and is now believed to have successfully infiltrated the Yugoslav Partisans as "Captain Lescovar". To get to Yugoslavia, the two men pair with "Force 10", an American sabotage unit led by US Army Rangers Lieutenant Colonel Mike Barnsby and steal a bomber. They are joined by Weaver, a Medical Corps sergeant arrested by the Military Police, and escape, only to be shot down by the Luftwaffe. Only Barnsby, Mallory, Miller, Weaver, and Lieutenant Doug Reynolds (Angus MacInnes) escape the crippled plane.


title: Force 10 from Navarone (film)

text: The survivors come upon a band of men they believe to be partisans but are later revealed as collaborationist Chetniks led by Captain Drazak. Taken prisoner, they tell the German commander in control of the area, Major Schroeder, that they are deserters. To keep Schroeder from opening Miller's explosives suitcase, Mallory claims it contains the new drug "penicillin" which will spoil if exposed. The next morning the prisoners are told that Schroeder has opened the case, finding it full of firewood. They improvise an excuse, "admitting" they buried the samples. Schroeder sends Barnsby and Mallory to retrieve them under the guard of his concubine Maritza and three soldiers. Miller, Weaver, and Reynolds are left in camp.


title: Force 10 from Navarone (film)

text: Far from camp, Maritza kills the Germans, revealing herself to be a partisan and the person who hid the explosives. She directs Mallory and Barnsby towards the partisan camp under the command of her father, Major Petrovich. Mallory and Barnsby escape and meet a patrol of real Yugoslav partisans led by Lescovar, who has gained Petrovich's trust. Mallory and Barnsby are taken to the camp, which lies near a hydroelectric dam. An arch bridge spanning the river ravine is set to be used by a German force for an impending assault on the partisans, who have been unable to destroy the bridge. Barnsby reveals that the bridge is Force 10's target.


title: Force 10 from Navarone (film)

text: Mallory convinces Petrovich to mount a rescue mission of demolitions expert Miller, using Lescovar and Marko, a loyal partisan. The four re-enter the camp at night, with Mallory and Barnsby posing as captives, and Lescovar and Marko disguised as Chetniks. Drazak discovers that Maritza must have helped Miller and Mallory escape, and begins beating her viciously. Schroeder and Reynolds are killed in a gun battle, but the others escape with a badly beaten Maritza and the recovered explosives.


title: Force 10 from Navarone (film)

text: Miller reveals that the bridge is impregnable, which Barnsby refuses to accept. Mallory hits upon the idea of destroying the upstream dam, to use the sudden onrush of millions of gallons of water to destroy the bridge. A night-time air drop is arranged to replace Force 10's lost supplies, but Lescovar, revealed to be the saboteur, calls in German planes to stop the drop. Maritza catches Lescovar in the act, but he kills her before she can warn the others, and German planes bomb the illuminated drop zone, killing numerous partisans.


title: Force 10 from Navarone (film)

text: Petrovich, angered by the botched air drop, orders the men to be sent to Marshal Tito's headquarters for transport back to Italy. Accompanied by Lescovar and Marko, the team instead infiltrates the German marshaling yards at Mostar to steal explosives. Lescovar again betrays them, alerting a German sergeant to their presence. Marko sacrifices himself to save the others, who escape with Lescovar aboard a train leaving for Sarajevo. Lescovar is questioned by the others, who have grown suspicious of him. Lescovar initially denies the accusations, but gives himself away and is shot dead by Barnsby, who then asks Mallory to return the favour by helping him accomplish Force 10's mission.


title: Force 10 from Navarone (film)

text: Jumping the train near the dam, the team splits up: Miller and Weaver run a diversion, while Mallory and Barnsby sneak into the dam. Weaver runs into Captain Drazak and kills him in a knife fight. Mallory and Barnsby set their charges within the dam; its structural integrity compromised by the blast, the dam wall bursts, releasing a torrent of water that topples the bridge. The German assault is thwarted, saving Petrovich and the partisans.


title: Force 10 from Navarone (film)

text: Mallory and Barnsby rejoin Miller and Weaver, but Mallory reminds the others they are trapped on the wrong side of the river. As the credits roll, the men begin a strenuous journey back to friendly lines.


title: Force 10 from Navarone (film)

text: Initially there had been plans to produce the film shortly after the 1961 original with Gregory Peck and David Niven reprising their roles. Following the success of the original film, producer Carl Foreman asked MacLean to write a hardcover sequel novel on which a follow-up film would be based, but the author was reluctant to write an entire novel and instead delivered a screen treatment.


title: Force 10 from Navarone (film)

text: In April 1967 Carl Foreman announced he would make "After Navarone" with Anthony Quinn, Gregory Peck and David Niven reprising their roles and J Lee Thompson returning as director. The film would be made by Columbia. In May 1967 it was announced the film would be called "The High Dam" and filming would take place in 1969.


title: Force 10 from Navarone (film)

text: Filming did not proceed. MacLean decided to develop the screen treatment as a book and "Force 10 from Navarone" was published in 1968. The novel became a best seller.


title: Force 10 from Navarone (film)

text: Throughout the 1970s Foreman tried to get financial backing for the film. In December 1972 MacLean said Foreman's plan was to use the original cast and commented "they'll look a bit old for the war now."


title: Force 10 from Navarone (film)

text: In September 1976 it was announced Foreman, Oliver Unger and the German finance company, Mondo Films, had acquired the screen rights to the novel and screenplay "Force 10 from Navarone". Foreman wrote the treatment and served as executive producer, but Unger wound up producing.


title: Force 10 from Navarone (film)

text: The producers wanted Robert Bolt to write the screenplay but he was busy working with David Lean. Bolt's agent Peggy Ramsey suggested they hire Robin Chapman.


title: Force 10 from Navarone (film)

text: In August 1977, the production company set up to make the movie, Navarone Productions, signed an agreement with AIP for the latter to distribute the film. AIP provided $2.1 million of the budget.


title: Force 10 from Navarone (film)

text: The film was originally budgeted at $8,312,224. AIP provided $2,104,942.93 to Navarone Productions and subsequently spent an additional $97,109.15 to produce a U.S. version of the film. Columbia Pictures advanced $2,900,000 and agreed to pay $1,100,000 more after delivery of the film in return for the exclusive and perpetual distribution rights in all territories outside the United States and Canada. A German investment group contributed $1 million, a Yugoslavian production company lent or provided services equal to $2 million; and American Broadcasting Company paid $1,800,000 for the right to broadcast the motion picture 3 times on network television.


title: Force 10 from Navarone (film)

text: Cinematographer Christopher Challis recalled that the film was originally considered to be filmed in Pakistan until someone realised that Pakistanis did not resemble Yugoslavians or Germans and the expense to make them appear as such on film would be financially prohibitive.


title: Force 10 from Navarone (film)

text: By the time film was to start, 17 years after the original, Peck and Niven were considered too old and the decision was made to recast.


title: Force 10 from Navarone (film)

text: By October 1977 the main cast had been settled: Robert Shaw, Edward Fox, Harrison Ford, Franco Nero, Barbara Bach. Shaw said "I find it a bit ridiculous at my age to be running around a mountain in Yugoslavia saying 'Let's go'."


title: Force 10 from Navarone (film)

text: It was Ford's first movie after the release of "Star Wars". He says he picked the part because it was a "strong supporting character" that was "very different from Han Solo. I wanted to avoid being stereotyped as a science fiction type." Ford later said he did the film "to take advantage of the chance to work. And it was a job I did for the money."


title: Force 10 from Navarone (film)

text: Fox at the time was best known for "The Day of the Jackal" and playing Edward VIII on television. Caroline Munro said she was offered the female lead but she turned it down because it involved too much nudity.


title: Force 10 from Navarone (film)

text: MacLean was reportedly unhappy with the prominence given to the Barbara Bach character. "She's of minimal importance in my novel," he said.


title: Force 10 from Navarone (film)

text: Filming went for five months starting in late 1977. Shepperton Studios outside London were used for most indoor scenes and included a full-scale mock-up of a Lancaster bomber, while scenes were shot around the Đurđevića Tara Bridge, Montenegro, and Jablanica Dam on Jablaničko Lake in Jablanica, Bosnia and Herzegovina with the assistance of Jadran Film. Scale models of the dam, the valley and the bridge were constructed at the Mediterranean Film Studios in Malta.


title: Force 10 from Navarone (film)

text: President Tito of Yugoslavia authorised his government to assist the production, including providing 2,000 soldiers as extras as well as uniforms and equipment and several Yugoslavian army T-34 tanks. He visited the set.


title: Force 10 from Navarone (film)

text: Some scenes were also shot in the Royal Naval Dockyard (South Yard) in Devonport, Plymouth. During a shot of the railway carriages the letters PSTO(N) can be seen, this stands for Principal Supply and Transport Officer (Navy), and on Jersey in the Channel Islands.


title: Force 10 from Navarone (film)

text: George MacDonald Fraser was hired to do further work on the script during filming in Yugoslavia, in part because he and Guy Hamilton got along well when both worked on "Superman" (1978). However Fraser is not credited on the film.


title: Force 10 from Navarone (film)

text: Edward Fox said five people worked on the script. "The action had been laid down but the characters were still stick figures. We had to dress them up and make the lines fit them as we went along."


title: Force 10 from Navarone (film)

text: Ford said during filming, "I was lost because I didn't know what the story was about. I didn't have anything to act. There was no reason for my character being there. I had no part of the story that was important to tell. I had a hard time taking the stage with the bull that I was supposed to be doing."


title: Force 10 from Navarone (film)

text: The bridge over the Tara River, which is the target of the commando operation in the film, was destroyed by partisans in 1942 with the original engineer that built the bridge (Lazar Jauković) involved in the operation to destroy it.


title: Force 10 from Navarone (film)

text: Shaw said during filming that "I'm seriously thinking that this might be my last film... I no longer have anything real to say. I'm appalled at some of the lines... I'm not at ease in film. I can't remember the last film I enjoyed making." Shaw's words proved prophetic as he died in August 1978 of a heart attack, before "Navarone" was released. It was his penultimate film, as he was filming "Avalanche Express" when he died.


title: Force 10 from Navarone (film)

text: Filming went over budget to more than $10 million and the completion guarantor had to step in and provide additional funds.


title: Force 10 from Navarone (film)

text: Composer Ron Goodwin scored the film to the 126-minute version during the summer of 1978. Before the film was released it was shortened to 118 minutes. Additional music cues were created by recycling music from other parts of the film — typically reusing suspense passages in scenes for which they were not written. The CD release of the soundtrack by "Film Score Monthly" chronicles these changes, and presents the score as Goodwin wrote and recorded it for the 126-minute version.


title: Force 10 from Navarone (film)

text: After being screened at Camp David as the Thanksgiving film for US President Jimmy Carter, the film was released in the United States on 8 December 1978 to mixed reviews (according to production notes that accompanied the 2000 DVD release).


title: Force 10 from Navarone (film)

text: Before the film came out Maclean said in an interview that the only film he liked made from his writings was "Guns of Navarone" and "I am hopeful this return to "Navarone" will be good too, although the storyline bears little resemblance to what I wrote. Robert Shaw was a good actor, one of the most in demand in the world today. And I am told he did a good job. Whatever, this couldn't help be the best [of the recent adaptations of his work for the screen] because the rest were rubbish. But I am not bitter, you understand. The sale of my stories to the movies has been a matter of business - a process from which I usually detach myself."


title: Force 10 from Navarone (film)

text: The 118-minute cut was released theatrically overseas by Columbia Pictures, which had released "The Guns of Navarone".


title: Force 10 from Navarone (film)

text: Harrison Ford said "It wasn't a bad film. There were honest people involved and it was an honest effort. But it wasn't the right thing for me to do."


title: Force 10 from Navarone (film)

text: Although three producers of the film are deceased (Carl Foreman, Sidney Cohn and Oliver Unger), their estates and surviving producer Peter Gettinger sued Sony Pictures (as Columbia Pictures' successor) for unpaid sums from distribution rights. Following a May 2008 trial in the New York Supreme Court, a judgement awarded the producers more than 30 years of funds withheld by Columbia Pictures. Sony appealed, but the Appellate Division of the Supreme Court upheld the initial verdict on 1 September 2009.


title: Charge density

text: In electromagnetism, charge density is the amount of electric charge per unit length, surface area, or volume. Volume charge density (symbolized by the Greek letter ρ) is the quantity of charge per unit volume, measured in the SI system in coulombs per cubic meter (C⋅m), at any point in a volume. Surface charge density (σ) is the quantity of charge per unit area, measured in coulombs per square meter (C⋅m), at any point on a surface charge distribution on a two dimensional surface. Linear charge density (λ) is the quantity of charge per unit length, measured in coulombs per meter (C⋅m), at any point on a line charge distribution. Charge density can be either positive or negative, since electric charge can be either positive or negative.


title: Charge density

text: Like mass density, charge density can vary with position. In classical electromagnetic theory charge density is idealized as a "continuous" scalar function of position formula_1, like a fluid, and formula_2, formula_3, and formula_4 are usually regarded as continuous charge distributions, even though all real charge distributions are made up of discrete charged particles. Due to the conservation of electric charge, the charge density in any volume can only change if an electric current of charge flows into or out of the volume. This is expressed by a continuity equation which links the rate of change of charge density formula_2 and the current density formula_6.


title: Charge density

text: Since all charge is carried by subatomic particles, which can be idealized as points, the concept of a "continuous" charge distribution is an approximation, which becomes inaccurate at small length scales. A charge distribution is ultimately composed of individual charged particles separated by regions containing no charge. For example, the charge in an electrically charged metal object is made up of conduction electrons moving randomly in the metal's crystal lattice. Static electricity is caused by surface charges consisting of ions on the surface of objects, and the space charge in a vacuum tube is composed of a cloud of free electrons moving randomly in space. The charge carrier density in a conductor is equal to the number of mobile charge carriers (electrons, ions, etc.) per unit volume. The charge density at any point is equal to the charge carrier density multiplied by the elementary charge on the particles. However, because the elementary charge on an electron is so small (1.6⋅10 C) and there are so many of them in a macroscopic volume (there are about 10 conduction electrons in a cubic centimeter of copper) the continuous approximation is very accurate when applied to macroscopic volumes, and even microscopic volumes above the nanometer level.


title: Charge density

text: At even smaller scales, of atoms and molecules, due to the uncertainty principle of quantum mechanics, a charged particle does not "have" a precise position but is represented by a probability distribution, so the charge of an individual particle is not concentrated at a point but is 'smeared out' in space and acts like a true continuous charge distribution. This is the meaning of 'charge distribution' and 'charge density' used in chemistry and chemical bonding. An electron is represented by a "wavefunction" formula_7 whose square is proportional to the probability of finding the electron at any point formula_1 in space, so formula_9 is proportional to the charge density of the electron at any point. In atoms and molecules the charge of the electrons is distributed in clouds called orbitals which surround the atom or molecule, and are responsible for chemical bonds.


title: Charge density

text: The linear charge density is the ratio of an infinitesimal electric charge "dQ" (SI unit: C) to an infinitesimal line element,


title: Charge density

text: Integrating the definitions gives the total charge "Q" of a region according to line integral of the linear charge density "λ"(r) over a line or 1d curve "C",


title: Charge density

text: where the subscript "q" is to clarify that the density is for electric charge, not other densities like mass density, number density, probability density, and prevent conflict with the many other uses of "λ", "σ", "ρ" in electromagnetism for wavelength, electrical resistivity and conductivity.


title: Charge density

text: Within the context of electromagnetism, the subscripts are usually dropped for simplicity: "λ", "σ", "ρ". Other notations may include: "ρ", "ρ", "ρ", "ρ", "ρ", "ρ" etc.


title: Charge density

text: The total charge divided by the length, surface area, or volume will be the average charge densities:


title: Charge density

text: In dielectric materials, the total charge of an object can be separated into "free" and "bound" charges.


title: Charge density

text: Bound charges set up electric dipoles in response to an applied electric field E, and polarize other nearby dipoles tending to line them up, the net accumulation of charge from the orientation of the dipoles is the bound charge. They are called bound because they cannot be removed: in the dielectric material the charges are the electrons bound to the nuclei.


title: Charge density

text: Free charges are the excess charges which can move into electrostatic equilibrium, i.e. when the charges are not moving and the resultant electric field is independent of time, or constitute electric currents.


title: Charge density

text: The bound surface charge is the charge piled up at the surface of the dielectric, given by the dipole moment perpendicular to the surface:


title: Charge density

text: where s is the separation between the point charges constituting the dipole, formula_20 is the electric dipole moment, formula_21 is the unit normal vector to the surface.


title: Charge density

text: which separates into the potential of the surface charge (surface integral) and the potential due to the volume charge (volume integral):


title: Charge density

text: The free charge density serves as a useful simplification in Gauss's law for electricity; the volume integral of it is the free charge enclosed in a charged object - equal to the net flux of the electric displacement field D emerging from the object:


title: Charge density

text: For the special case of a homogeneous charge density "ρ", independent of position i.e. constant throughout the region of the material, the equation simplifies to:


title: Charge density

text: Then, by definition of homogeneity, "ρ"(r) is a constant denoted by "ρ" (to differ between the constant and non-constant densities), and so by the properties of an integral can be pulled outside of the integral resulting in:


title: Charge density

text: The equivalent proofs for linear charge density and surface charge density follow the same arguments as above.


title: Charge density

text: For a single point charge "q" at position r inside a region of 3d space "R", like an electron, the volume charge density can be expressed by the Dirac delta function:


title: Charge density

text: As always, the integral of the charge density over a region of space is the charge contained in that region. The delta function has the "sifting property" for any function "f":


title: Charge density

text: so the delta function ensures that when the charge density is integrated over "R", the total charge in "R" is "q":


title: Charge density

text: This can be extended to "N" discrete point-like charge carriers. The charge density of the system at a point r is a sum of the charge densities for each charge "q" at position r, where :


title: Charge density

text: The delta function for each charge "q" in the sum, "δ"(r − r), ensures the integral of charge density over "R" returns the total charge in "R":


title: Charge density

text: If all charge carriers have the same charge "q" (for electrons "q" = −"e", the electron charge) the charge density can be expressed through the number of charge carriers per unit volume, "n"(r), by


title: Charge density

text: In special relativity, the length of a segment of wire depends on velocity of observer because of length contraction, so charge density will also depend on velocity. Anthony French


title: Charge density

text: has described how the magnetic field force of a current-bearing wire arises from this relative charge density. He used (p 260) a Minkowski diagram to show "how a neutral current-bearing wire appears to carry a net charge density as observed in a moving frame." When a charge density is measured in a moving frame of reference it is called proper charge density.


title: Charge density

text: It turns out the charge density "ρ" and current density J transform together as a four-current vector under Lorentz transformations.


title: Charge density

text: where "q" is the charge of the particle and is the probability density function i.e. probability per unit volume of a particle located at r.


title: Charge density

text: The charge density appears in the continuity equation for electric current, and also in Maxwell's Equations. It is the principal source term of the electromagnetic field; when the charge distribution moves, this corresponds to a current density. The charge density of molecules impacts chemical and separation processes. For example, charge density influences metal-metal bonding and hydrogen bonding. For separation processes such as nanofiltration, the charge density of ions influences their rejection by the membrane.


title: FFP standards

text: FFP standards refer to the filtering half mask classification by EN 149, a European standard of testing and marking requirements for filtering half masks. FFP standard masks (where FFP stands for filtering facepiece) cover the nose, mouth and chin and may have inhalation and/or exhalation valves.


title: FFP standards

text: EN 149 defines three classes of such particle half masks, called FFP1, FFP2 and FFP3, according to their filtering efficiency. It also classifies masks into "single shift use only" (not re-usable, marked NR) or "re-usable (more than one shift)" (marked R), while an additional marking letter D indicates that a mask has passed an optional clogging test using dolomite dust. Such mechanical filter respirators protect against the inhalation of particulates such as dust particles, droplets, and aerosols.


title: FFP standards

text: Almost identical tests (but different markings) are used in Australia, New Zealand, Korea and Brazil. Similar standards are used in the United States, China and Japan. For example, EN 149 FFP2 masks have similar performance requirements to N95 masks in the United States and KN95 filters of China, and EN 149 FFP3 masks have similar performance requirements to N99 masks in the United States. However EN 149 test requirements differ somewhat from the U.S./Chinese/Japanese standards: EN 149 requires an additional paraffin oil (paraffinum perliquidum) aerosol test and it tests at a range of different flow rates and defines several associated and permissible pressure drop levels.


title: FFP standards

text: The EN 149 standard defines performance requirements for three classes of particle-filtering half masks: FFP1, FFP2 and FFP3. The protection provided by an FFP2 (or FFP3) mask includes the protection provided by a mask of the lower-numbered classes.


title: FFP standards

text: A mask conforming to the standard must have its class written on it, along with the name of the standard and its year of publication, as well as any applicable option codes, e.g. “EN 149:2001 FFP1 NR D”. Some manufacturers use in addition the colour of the elastic band to identify the mask class, however, the EN 149 standard does not specify any such colour coding and different manufacturers have used different colour schemes.


title: FFP standards

text: It is mainly used as a dust mask (for example for DIY jobs). Dust can cause lung diseases, such as silicosis, anthracosis, siderosis and asbestosis (in particular dust from silica, coal, iron ore, zinc, aluminium or cement are common particulate risks).


title: FFP standards

text: This mask offers protection in various areas such as the glass industry, foundry, construction, pharmaceutical industry and agriculture. It effectively stops powdered chemicals. This mask can also serve as protection against respiratory viruses such as avian influenza or severe acute respiratory syndrome associated with the coronavirus (SARS), as well as against the bacteria of pneumonic plague and tuberculosis. It is similar to the US-standard N95 respirator.


title: FFP standards

text: The FFP3 mask is the most filtering of the FFP masks. It protects against very fine particles such as asbestos and ceramic. It does not protect against gases and in particular oxides of nitrogen.


title: FFP standards

text: EN 149 defines laboratory tests, field tests and certain requirements to ensure the conformity of the masks. The following points are analyzed:


title: FFP standards

text: There are some European organizations that issue an examination certificate confirming conformity and specifying the characteristics of the products:


title: FFP standards

text: With the publication of the 2009 version of the standard, the designation of the respiratory protection mask is now "particulate filtering half mask". The abbreviation NR or R is added after FFP1, FFP2, FFP3:


title: FFP standards

text: FFP respirators are a type of personal protective equipment (PPE). Here is the notice that should appear on every mask :


title: FFP standards

text: The marking must comply with European Union Directive 89/686 / EEC on PPE. If any of these entries are missing, the mask will be considered "non-compliant".


title: FFP standards

text: EN 149 tests the ability of masks to protect the wearers against inhaling liquid and dry aerosols. It makes no statement about, and does not specifically test the suitability of such masks for, infection control against airborne transmission of pathogens through respiratory droplets. Nevertheless, FFP2 and FFP3 masks are commonly used for this purpose in medical practice. A researcher at the MRC Biostatistics Unit at Cambridge University claimed in 2021 that switching to FFP3 in Addenbrooke hospital in Cambridge may have cut ward-based Covid infection of staff to zero.


title: FFP standards

text: Several regions use standards based on nearly identical tests and thresholds as those in EN 149, but with different markings:


title: FFP standards

text: Other regions use similar tests that (in parts) resemble more closely the 42 CFR 84 requirements in the United States:


title: Chloe Kelly

text: Chloe Maggie Kelly (born 15 January 1998) is an English professional footballer who plays as a forward for Manchester City in the FA WSL and the England national team. She previously played for Arsenal and Everton and represented England on the under-17, under-19 and under-20 national teams.


title: Chloe Kelly

text: At the UEFA Women's Euro 2022 Kelly came off the substitutes' bench to score the winning goal in the Women's Euro 2022 final match, securing the team their first major trophy.


title: Chloe Kelly

text: Born on 15 January 1998 and raised in West London district of Hanwell and the youngest of seven siblings, Kelly began playing football at a young age with her five brothers. Before joining Arsenal's Centre of Excellence, she played for Queens Park Rangers. She travelled two hours round trip by train as a young teenager to train with Arsenal. Her footballing idol when she was growing-up was Bobby Zamora, once also a Queens Park Rangers player.


title: Chloe Kelly

text: On 23 July 2015, aged 17, Kelly made her full debut for the Arsenal first team in the Continental Cup against Watford, scoring her first goal just 22 minutes into the match. She made her second appearance for the club during a 2–1 over Notts County, subbing in for Rachel Yankey in the 54th minute.


title: Chloe Kelly

text: In February 2016, Kelly signed her first senior contract. She made one appearance against the team's 5–1 over Sunderland on 25 June, before being loaned to FA WSL 2 side Everton. After returning to Arsenal in October of the same year, she made three more appearances for Arsenal during the 2016 FA WSL season. The team finished the regular season in third place with a record. Arsenal also won the 2016 FA Women's Cup Final at Wembley Stadium. Though Kelly was in the squad, she did not play during the team's 1–0 win over Chelsea.


title: Chloe Kelly

text: In February 2017, Kelly signed a new contract with Arsenal. She made seven appearances for the club and scored two goals before being loaned to Everton in July.


title: Chloe Kelly

text: In June 2016, Kelly joined FA WSL 2 side Everton on a three-month loan in order to gain additional first team experience;. She made nine starts for the Toffees, and scored two goals.


title: Chloe Kelly

text: In July 2017, Kelly returned to newly-promoted FA WSL 1 Everton for a second loan spell. Kelly made four appearances for Everton and scored two goals in the remaining months of 2017.


title: Chloe Kelly

text: In the WSL Cup, Kelly scored her first senior hat-trick on 16 November 2017 in a 4–0 victory against Oxford United.


title: Chloe Kelly

text: In January 2018, Kelly made a permanent transfer to Everton on contract through summer 2020, alongside Arsenal teammate Taylor Hinds. She made a total of 15 appearances for Everton during the 2017-18 FA WSL season and scored two goals. Everton finished in ninth place with a record. During the 2018-19 FA WSL season, Kelly made eleven appearances and scored a goal during the team's 3–3 draw against Brighton & Hove Albion despite playing on an ankle injury throughout the season. Everton finished in 10th place.


title: Chloe Kelly

text: After having ankle surgery, 2019 marked a turning point for Kelly's career. She scored nine goals in 12 games for Everton during the 2019-20 FA WSL season helping the club climb the table to sixth place. She was the fourth-highest scorer in the league and the top goalscorer for Everton. During the team's second game of the season, Kelly scored a brace lifting Everton to a 2–0 win. Her second goal of the match – a long-range goal – went viral. Kelly was named the league's Player of the Month for September and was shortlisted for October’s award. Kelly's performance during the early part of the season earned her a call-up to the national team camp. In January 2020, Kelly scored a hat trick against Reading lifting Everton to a 3–1 win. It was the first hat-trick by an Everton player since 2013.


title: Chloe Kelly

text: On 3 July 2020, it was announced Kelly had signed a two-year contract with Manchester City. In September 2020, she was named to the PFA WSL Team of the Year. On 4 October, she scored a brace against Tottenham Hotspur lifting the team to a 4–1 win. During the team's 3–1 loss to Chelsea a few days later, she converted a penalty kick in the 73rd minute for Manchester City's lone goal of the match.


title: Chloe Kelly

text: Kelly has represented England on the senior national team as well as numerous youth national teams, including the under-17 and under-20 squads.


title: Chloe Kelly

text: In 2014, Kelly competed at the 2014 UEFA Women's Under-17 Championship in England. In November 2015, she scored an equaliser against Italy to earn a draw.


title: Chloe Kelly

text: In August 2018, Kelly was part of the England U20 squad that claimed bronze at the 2018 FIFA U-20 Women's World Cup.


title: Chloe Kelly

text: Kelly made her senior national team debut in November 2018, coming in as a substitute in a 3–0 friendly win over Austria in Vienna.


title: Chloe Kelly

text: Kelly was named to the England squad for UEFA Women's Euro 2022, which England was hosting, in June 2022. On 31 July 2022, Kelly came off the bench to score the winning goal in the 110th minute of the Women's Euro 2022 final match against Germany, securing the win for England in extra time. Once she was confirmed onside, she celebrated by removing her shirt and swinging it around her head, revealing a sports bra and receiving a yellow card as a result. She was later praised as uniting and empowering women. Kelly's celebration was compared to that of American defender Brandi Chastain, who had also famously celebrated a major championship-deciding goal for a host nation by removing her jersey and revealing her sports bra and had also been celebrated as a women's empowerment figure – in Chastain's case, after she scored the winning penalty for the United States against China in the 1999 Women's World Cup Final at the Rose Bowl. Chastain congratulated her and also said it put "a big smile on my face" and also later swapped shirts with Kelly after England's friendly against the United States at Wembley that October.


title: BioShock Infinite: Burial at Sea

text: BioShock Infinite: Burial at Sea is a two-part single-player expansion to the first-person shooter video game "BioShock Infinite". It was developed by Irrational Games and published by 2K Games for Linux, Microsoft Windows, PlayStation 3, Xbox 360, and macOS platforms. "Episode One" was released digitally on November 12, 2013, followed by "Episode Two" on March 25, 2014. A retail version was released as part of "BioShock Infinite: The Complete Edition", and later included in "" for Nintendo Switch, PlayStation 4, and Xbox One.


title: BioShock Infinite: Burial at Sea

text: "Burial at Sea" is set after the events of "Infinite", which spanned several alternate realities. Whereas "Infinite" takes place aboard the floating city Columbia, "Burial at Sea" primarily takes place in the underwater metropolis Rapture before the events of the first "BioShock" game. The game features Booker DeWitt as a private detective, and Elizabeth as a "femme fatale" who employs Booker's services.


title: BioShock Infinite: Burial at Sea

text: Development of "Infinite"s downloadable content commenced immediately after finishing the main game. Irrational was drawn to returning to the setting of Rapture and using "Infinite"s gameplay systems to create a version of the city before its ruin in "BioShock". Reception to "Burial at Sea"s two episodes was mixed. While the return to Rapture was generally praised, the first episode drew criticism for its short length and a lack of differentiated gameplay. Reviews for the second episode were more positive, with multiple critics calling "Burial at Sea" a fitting swan song for Irrational's work on "BioShock", as the studio reorganized.


title: BioShock Infinite: Burial at Sea

text: Like "BioShock Infinite", "Burial at Sea" is a first-person shooter with role-playing elements. The game is primarily is set in the underwater city of Rapture, the setting of the original "BioShock" and "BioShock 2". Gameplay mixes elements from "Infinite"s sandbox and those of earlier games in the series. The superpower-bestowing liquids, known as Vigors in "Infinite", are reclassified as plasmids, their Rapture equivalent. Also returning with different names are the skyrails and skyhook from the base game. Unlike "Infinite", players can carry more than two weapons at a time, although ammo is much scarcer, and not all weapons from "Infinite" return. New additions include the Old Man Winter plasmid, which functions similar to the Winter Blast plasmid in the original "BioShock", and the Radar Range weapon, which fires energy that explodes enemies.


title: BioShock Infinite: Burial at Sea

text: In "Episode Two", players assume the role of Elizabeth, and the gameplay shifts to emphasize stealth. Splashing in pools of water or walking across broken glass alerts enemies to the player's presence. A new plasmid, Peeping Tom, allows players to see through walls and scout ahead of them. Players are also equipped with a crossbow that can fire noisemakers, knockout gas, or tranquilizer darts. "Episode Two" includes a "1998 Mode" in which the player is challenged to complete the episode using only non-lethal methods of defeating enemies, a callback to Irrational precursor Looking Glass Studios' 1998 stealth title "".


title: BioShock Infinite: Burial at Sea

text: "Episode One" begins on December 31, 1958. Elizabeth asks the private investigator Booker DeWitt to investigate the disappearance of a young girl named Sally; Booker believes Sally is dead, but Elizabeth says she has information to the contrary. The pair confront the artist Sander Cohen, who tells them Sally is in the Fontaine Department Store. The store was sunk and cut off from the rest of the city by Rapture's founder Andrew Ryan to serve as a prison for the followers of his believed-dead competitor, Frank Fontaine.


title: BioShock Infinite: Burial at Sea

text: Within Fontaine's, Booker and Elizabeth look for Sally, fighting their way through the crazed remains of Fontaine's followers. Booker finds Sally, but discovers she has been turned into a "Little Sister"—a mentally conditioned and mutated girl, trained to produce and gather the material that fuels Rapture's genetic modifications. Booker has sudden flashbacks to events he had previously forgotten. Booker once went by the name Zachary Hale Comstock, and was the founder of the floating city of Columbia. Childless, Comstock enlisted the help of the scientists Robert and Rosalind Lutece to steal the infant Anna (who would grow up to be Elizabeth) from a version of Booker DeWitt in an alternate universe, but Anna was accidentally killed. Comstock was shamed by his actions and had the Lutece twins send him to Rapture, where he lost his memories and reassumed his identity as Booker Dewitt. Booker/Comstock realizes what he has done and tries to apologize to Elizabeth. She rebuffs him, and Comstock is killed by an armored Big Daddy.


title: BioShock Infinite: Burial at Sea

text: In "Episode Two", Elizabeth wakes up from a nightmare of Paris in flames to find herself and Sally captured by Atlas (Frank Fontaine in disguise). A vision of Booker instructs Elizabeth to say that she knows how to get Atlas and his followers back to the city proper. Atlas agrees to hand over Sally in exchange. Elizabeth finds her own dead body, and realizes she had been killed by a Big Daddy; in returning to a universe where she died, all other alternate versions of herself have collapsed. Elizabeth has lost her previous ability to see through the multiverse and is unsure of why she decided to return to Rapture.


title: BioShock Infinite: Burial at Sea

text: In the lab of scientist Yi Suchong, Elizabeth finds a portal to Columbia. Elizabeth hypothesizes that by acquiring some of the particles that keep Columbia afloat, she can lift Fontaine's building. She discovers that Suchong and Columbia industrialist Jeremiah Fink had shared technology, co-developing the Big Daddies and Elizabeth's former warden, the Songbird. On return to the Fontaine building, Elizabeth succeeds in raising the department store, but Atlas reneges on their deal. After a botched attempt to drug her and learn the location of an "ace in the hole" Suchong had developed for Fontaine, Elizabeth awakens weeks later and finds the city beset by civil war. After Atlas threatens to torture Sally, Elizabeth agrees to retrieve the ace from Suchong's lab.


title: BioShock Infinite: Burial at Sea

text: Elizabeth finds Suchong as he is killed by a Big Daddy for harming a Little Sister. With him is a coded message that Elizabeth realizes is the ace in the hole—the phrase "would you kindly", a trigger phrase that Suchong implanted in Jack (the protagonist from "BioShock"), the son of Ryan that Atlas has sent to the surface. Atlas orders his men to make arrangements for Jack to come to Rapture, and then beats Elizabeth to death with a wrench. In her final moments, Elizabeth has a vision of the events that will come to pass: Jack comes to Rapture, kills Ryan and Atlas, and saves Sally and the other Little Sisters.


title: BioShock Infinite: Burial at Sea

text: A post-credits scene shows a shot of Rapture as a crashed plane sinks into the city, signaling Jack's arrival and the events of "BioShock".


title: BioShock Infinite: Burial at Sea

text: Before "BioShock Infinite"s release, 2K and Irrational Games announced a season pass for the game. The pass promised three expansion packs as downloadable content (DLC) after launch. In discussing ideas for the DLC, Irrational gravitated towards returning to the city of Rapture, after the location had made a cameo appearance at the end of "Infinite". Due to the ambitious nature and longer development of "Burial at Sea", Irrational developed a smaller expansion, "Clash in the Clouds", to tide players over. Irrational began work on the DLC immediately after finishing work on "Infinite".


title: BioShock Infinite: Burial at Sea

text: Compared to the base game, familiarity with "Burial at Sea"s game systems allowed the developers to focus on the story without as many considerations for how it would affect gameplay. The developers tried to respect the original gameplay of "BioShock" while integrating "Infinite"s combat sandbox. They pared down the number of plasmids and available ammo to make players think more strategically about engaging enemies. The gameplay for the content was altered to fit the setting and feel of Rapture compared to the larger battles of "Infinite".<ref name="eurogamer-levine interview 7/30"></ref> Enemy awareness systems were retooled and environments redesigned to increase the focus on stealth and make the game feel more like "BioShock". Though the developers could not change the gameplay wholesale, they focused on making the environments feel more oppressive and threatening, especially for when Elizabeth was a playable character.


title: BioShock Infinite: Burial at Sea

text: The in-game setting of Rapture was recreated with very little reuse of assets from "BioShock", as they did not hold up in the years since the game's release; they were instead used as reference to inform new assets. Instead of flat backdrops of the city outside windows in environments, the exterior cityscape was created with three-dimensional geometry. The added content includes new weapons, gear, and Plasmids (the Rapture equivalent of Vigors), as well as bringing back the mechanic of the "weapon wheel" that allows players to carry and select from multiple weapons. One of the new plasmids is Old Man Winter, which freezes and shatters enemies. The concept was created by Joe Trinder, a fan and graphic designer, shortly after the reveal of "Infinite". The concept art, mimicking other in-game posters for Vigors, caught the attention of Levine, who decided to incorporate the concept within the "Burial at Sea" content with Trinder's help. The artwork was redesigned to match the Rapture setting, and influenced part of the level design where the plasmid would be found.


title: BioShock Infinite: Burial at Sea

text: Levine noted that whereas "BioShock" was about environments, "Infinite" was about characters, and "Burial at Sea" continued the focus on the latter. Levine called "Burial at Sea" "Elizabeth's story", and an opportunity to have her play a larger role beyond the Booker and Elizabeth relationship. Producer Don Roy called the switch to Elizabeth being a playable character a natural progression from her role as an important secondary character in the base game. In the second episode, Elizabeth becomes the player character. Being more of a thoughtful character than Booker, her gameplay focuses more on strategy and avoidance of direct combat, more like a survival horror or stealth game. It was important that Elizabeth did not feel simply like Booker "in a dress". Amanda Jeffrey noted that Elizabeth was the main character of "Infinite" and Rapture the main character of the first game, and so "Burial" involved "our two leading ladies playing opposite each other". No longer being recently out of the tower, Elizabeth's character is slightly different in "Burial", being "older, wiser and more confident". In early previews of "Burial at Sea", Irrational indicated that Elizabeth would be able to use her abilities to create "tears" to manipulate her environment, but in the final game this was removed in the second episode. Levine stated that the "Burial at Sea" would leave fans "walk[ing] away pretty satisfied with feeling a sense of completeness", with Courtnee Draper (voice of Elizabeth) calling it "the wrap-up for the whole BioShock series".


title: BioShock Infinite: Burial at Sea

text: "Burial at Sea" was announced on July 30, 2013, alongside the rest of "Infinite"s downloadable content offerings. The first episode was released digitally on November 12, followed by "Episode Two" on March 25, 2014. The DLC was later bundled with the base game in a retail release, "BioShock Infinite: The Complete Edition", in November 2014, and was also included along with the rest of the franchise single-player DLC in "" in 2016.


title: BioShock Infinite: Burial at Sea

text: "Burial at Sea: Episode One" received mixed reviews on most platforms, in comparison to "Infinite"s critical praise. Critics generally praised the return to Rapture; "Game Informer"s Joe Juba wrote that the opportunity to see the city in its prime would be worth the DLC's cost for "BioShock" fans, while Alec Meer of Rock Paper Shotgun said the opening parts of the game gave him exactly what he wanted out of a return to Rapture. Less favorably, critics such as "GameSpot"s Kevin VanOrd and "PC Gamer"s Phil Savage complained that the city felt populated by staged vignettes and "mannequins", rather than feeling alive. "Eurogamer"s Stace Harmen wrote that players' enjoyment of the first episode would be predicated on how much they enjoyed the first half of the game, and how much they accepted the staged, "not quite truly alive" Rapture.


title: BioShock Infinite: Burial at Sea

text: Common complaints included the episode's short runtime, and the sudden shift to Fontaine's in the second half of the game. Juba said the switch "[started] feeling more like a retread" of previous games in the series. Critics such as Juba and "VG247"s Dave Cook felt that the new additions to the gameplay sandbox often did not distinguish themselves from "Infinite", though IGN's Ryan McCaffrey considered the merging of "Infinite" and "BioShock" satisfying and faster-paced than the first game. Several reviews noted that the episode forced more strategic gameplay with its scarce resources, but the repetitious mission objectives and backtracking wore thin even over the short runtime. "Wired"s Chris Kohler wrote that the expansion felt like fan service and that the story would have been better served by an all-new setting instead of returning to Rapture. Levine defended the game's runtime as being due to a focus on quality versus quantity.


title: BioShock Infinite: Burial at Sea

text: "Episode Two" was better received by critics, with generally favorable reviews on all platforms at Metacritic. McCaffrey, Hogarty, and "Destructoid"s Chris Carter were among those who felt the second episode redeemed the shortcomings of the first. The second chapter's switch to Elizabeth and slower, stealthy gameplay was well-received; "The A.V. Club"s Sam Barsanti appreciated that the smaller-scale story of "Episode Two" refocused on Elizabeth and more character-driven stakes than the main game. "GamesTM" considered "Episode Two"s focus on embracing the environment and hunting for story clues as better than any previous "BioShock" game. The episode was called a fitting end to Irrational's "BioShock" work. Criticisms included what VanOrd and "Eurogamer"s Björn Balg considered plot contrivances and inconsistencies. Justin McElroy of "Polygon" criticized the episode's focus on mysteries and confusing plot points, and wrote that the episode's attempts to wrap everything up "too often feels like well-made fan fiction".


title: BioShock Infinite: Burial at Sea

text: Shortly before "Episode Two" was released, Levine revealed that the episode would be Irrational Games' last game in the "BioShock" series, leaving the intellectual property in the hands of 2K Games. 75 employees were laid off as the studio shut down. 2K would form a new studio, Cloud Chamber, to develop the next "BioShock" title, currently under development.


title: Manaslu

text: Manaslu (, also known as Kutang; muh-NAA-slu) is the eighth-highest mountain in the world at above sea level. It is in the Mansiri Himal, part of the Nepalese Himalayas, in the west-central part of Nepal. The name Manaslu means "mountain of the spirit" and is derived from the Sanskrit word "manasa", meaning "intellect" or "soul". Manaslu was first climbed on May 9, 1956, by Toshio Imanishi and Gyalzen Norbu, members of a Japanese expedition. It is said that, given the many unsuccessful attempts by the British to climb Everest before New Zealander Edmund Hillary, "just as the British consider Everest their mountain, Manaslu has always been a Japanese mountain".


title: Manaslu

text: Manaslu is the highest peak in the Gorkha District and is about east of Annapurna. The mountain's long ridges and valley glaciers offer feasible approaches from all directions and culminate in a peak that towers steeply above its surrounding landscape and is a dominant feature when viewed from afar.


title: Manaslu

text: The Manaslu region offers a variety of trekking options. The popular Manaslu trekking route of skirts the Manaslu massif over the pass down to Annapurna. The Nepalese Government only permitted trekking of this circuit in 1991. The trekking trail follows an ancient salt-trading route along the Budhi Gandaki River. En route, 10 peaks over are visible, including a few over . The highest point reached along the trek route is the Larkya La at an elevation of . As of May 2008, the mountain has been climbed 297 times with 53 fatalities.


title: Manaslu

text: The Manaslu Conservation Area Project (MCAP) was established in 1997 with the primary objective of achieving conservation and sustainable management of the delimited area, which includes Manaslu.


title: Manaslu

text: Set in the northern Himalayan range in the Gorkha District of Nepal, Manaslu is a serrated "wall of snow and ice hanging in the sky". The three sides of the mountain fall in steps to terraces down below, which are sparsely inhabited with agricultural operations practiced on the land. Apart from climbing Manaslu, trekking is popular in this mountain region, as part of the Manaslu Circuit, a notable path by trekkers in Nepal.


title: Manaslu

text: The Manaslu Conservation Area, declared as such in December 1998 under the National Parks and Wild Life Conservation Act, subsumes Manaslu within it. The area covered under the conservation zone is and is managed by the National Trust for Nature Conservation (NTNC) of Nepal. The status of "conservation area" applied to the Manaslu area or region was with the basic objective "To conserve and sustainable management of the natural resources and rich cultural heritage and to promote ecotourism to improve livelihood of the local people in the MCA region."


title: Manaslu

text: Manaslu Himal, as it is popularly known among trekkers, provides views of the snow-covered mountains of the Himalayas and allows close interaction with the different ethnic groups who live in hill villages scattered along the trek route.


title: Manaslu

text: The trekking route is through mountainous terrain prone to the consequences of monsoon rainfall, land slides and land falls. Hypothermia and altitude sickness, as well as encounters with passing yaks, are common. Trekking to Manaslu is thus a test of endurance.


title: Manaslu

text: The region, which is also termed the Manaslu Conservation Area, comprises sub-tropical Himalayan foothills to arid Trans-Himalayan high pastures bordering Tibet. Starting from Arughat and extending into the Larkhe La pass, the area covers six climatic zones: the tropical and sub-tropical zone, elevation varies from ; the temperate zone (within elevation range of ; the sub-alpine zone elevation range of ; the alpine zone, a range of ) meadows; and the arctic zone (lying above ). The zones coalesce with the variation of the altitude from about in the tropical zone to the summit of Manaslu in the arctic zone.


title: Manaslu

text: Manaslu is known in the Tibetan language as "Kutan l", in which "tang" means the Tibetan word for a flat place. It is a very large peak with an elevation of (the world's eighth highest mountain). In view of its favourable topography of long ridges and glacial valleys, Manaslu offers several routes to mountaineers. Important peaks surrounding Manaslu include Ngadi Chuli, Himalchuli and Baudha. A glacial saddle known as Larkya La, with an elevation of , lies north of Manaslu. The peak is bounded on the east by the Ganesh Himal and the Buri Gandaki River gorge, on the west by the deep fissures of the Marysyangdi Khola with its Annapurna range of hills, to the south is the Gorkha town at the foot of the hill (from where trekking operates during the season), which is an aerial distance of to the peak. There are six established trek routes to the peak, and the south face is reportedly the most difficult for climbing.


title: Manaslu

text: The permanent snow line is reckoned above elevation. Precipitation in the area is both from snowfall and rainfall; the average annual rainfall is about , mostly during the monsoon period, which extends from June to September. The temperatures in the area also vary widely with the climatic zone: in the subtropical zone, the average summer and winter temperatures vary in the range of and respectively; in the temperate climatic zone, the summer temperatures are and winter temperatures are when snow and frost are also experienced; in the subalpine zone, during December to May snowfall generally occurs and the mean annual temperature is . The arctic zone is distinct and falls within the permanent snow line; there, the temperatures lie much below freezing.


title: Manaslu

text: There are other major peaks in the region, namely Himalchuli (), Ngadi Chuli (), Shringi (), Langpo () and Saula ().


title: Manaslu

text: Unlike many other regions, this valley is a sanctuary to many highly endangered animals, including snow leopards and red pandas. Other mammals include lynx, Asian black bear, grey wolf, dhole, Assam macaque, Himalayan musk deer, blue sheep, Himalayan tahr, mainland serow, Himalayan goral, woolly hare, horseshoe bat, Himalayan mouse-hare, and black-lipped pika. Over 110 species of birds, 33 mammals, 11 butterflies, and 3 reptiles have been recorded. Conservation of wild life in the area has been achieved by monks of the monasteries in the area by putting a hunting ban in place. This action has helped the wildlife to prosper. The area is now an important habitat for the snow leopard, grey wolf, musk deer, blue sheep, and the Himalayan tahr.


title: Manaslu

text: Some 110 species of birds have been identified in the area, including golden eagle, Eurasian griffon, Himalayan griffon, blood, impeyan, kalij and koklass pheasants, Himalayan and Tibetan snow cocks, and the crimson horned pheasant.


title: Manaslu

text: Three main categories of vegetation have been identified in the area. These are categorised on the basis of the altitude as low hill, middle mountain, and high mountain types with its exclusive types of dominant forests and other associated species. The types of vegetation, however, tend to overlap the adjoining ones at places. Depending on the microclimate and other aspects, an overlap of vegetation is noticed in adjacent areas. However, the forest types are fairly well defined. The flora in different forest types also does not show much variation. The valley basin has a rich ecotone diversity and includes nineteen different types of forests, most prominently rhododendron, and also Himalayan blue pine, which is flanked by Ganesh Himal and the Sringi ranges. Medicinal herbs and aromatic plants, have also been recorded in different forests types and adjoining vegetation. Overall, the presence of 19 types of forests and other forms of dominant vegetation have been recorded from the area. An estimated 1,500–2,000 plant species grow here.


title: Manaslu

text: There are two ethnicities mainly inhabiting this region; Nubri and Tsum. The branching off of the river at Chhikur divides these two ethnic domains. While Nubri has been frequently visited after Nepal opened itself for the tourism in 1950, Tsum still retains much of its traditional culture, art, and tradition. In the central hills of the region, Gurungs are the main ethnic group who have joined the Brigade of Gurkhas in large numbers. Closer to Tibet, the Bhutias (also spelled Bhotias), akin to the Sherpa group, of Tibetan ethnicity dominate the scene as can be discerned from their flat roofed houses, and they are distinctly Buddhists. The region is dotted with austere monasteries, mani walls, chortens and other Buddhist religious landmarks.


title: Manaslu

text: In 1950, H. W. Tilman was the first European to lead an expedition to the Annapurna Range with a small party of five compatriots. They walked on foot from the Kathmandu valley (six days of trekking from the valley), and using Manang as their base camp they started exploring the mountain ranges, peaks and valleys of the Annapurna massif. During this exploration, while making a reconnaissance of the higher reaches of the Dudh Khola, they clearly saw Manaslu from Bumtang. Three months later, after their aborted trip to Annapurna IV, Tilman, accompanied by Major J. O. M. Roberts, trekked to Larkya La pass and from there saw Manaslu and its plateau and concluded that there was a direct route to the summit, although they did not make an attempt on it.


title: Manaslu

text: After the reconnaissance visit by Tilman, there were four Japanese expeditions between 1950 and 1955 that explored the possibility of climbing Manaslu by the north and east faces.


title: Manaslu

text: In 1952, a Japanese reconnaissance party visited the area after the monsoon season. In the following year (1953), a team of 15 climbers led by Y. Mita, after setting up base camp at Samagaon, attempted to climb via the east side but failed to reach the summit. In this first attempt by a Japanese team to summit via the north-east face, three climbers reached a height of , before turning back.


title: Manaslu

text: In 1954, a Japanese team approaching from the Buri Gandaki route to the peak faced a hostile group of villagers at Samagaon camp. The villagers thought that the previous expeditions had displeased the gods, causing the avalanches that destroyed the Pung-gyen Monastery and the death of 18 people. As a result of this hostility, the team made a hasty retreat to Ganesh Himal. To appease local sentiments, a large donation was made to rebuild the monastery. However, this philanthropic act did not ease the atmosphere of distrust and hostility towards Japanese expeditions. Even the expedition in 1956 which successfully climbed the mountain faced this situation and as a result the next Japanese expedition only took place in 1971.


title: Manaslu

text: In 1956, Toshio Imanishi (Japan) and Gyaltsen Norbu (Sherpa) made the first ascent of Manaslu on May 9, 1956. The Japanese expedition was led by Maki Yūkō, also known as Aritsune Maki.


title: Manaslu

text: In 1956, David Snellgrove, a noted scholar in Tibetan culture and religion, undertook a seven-month sojourn of mid-west and central Nepal. The route that he followed, accompanied by three Nepalese people, was via Bumtang and Buri Gandaki river and crossing over to the Larkya La.


title: Manaslu

text: The next successful climb to the summit of Manaslu was in 1971. On May 17, 1971, Kazuharu Kohara and Motoki, part of an 11-man Japanese team, reached the summit via the north-west spur. Also in 1971, Kim Ho-sup led a Korean expedition attempt via the north-east face. Kim Ki-sup fell to his death on May 4. In 1972, the south-west face was climbed for the first time by Reinhold Messner as part of an Austrian expedition. In 1972, the Koreans attempted the north-east face. On April 10, an avalanche buried their camp at , killing fifteen climbers including ten Sherpas and the Korean expedition leader Kim Ho-sup, and Kazunari Yasuhisa from Japan. On April 22, 1973, Gerhard Schmatz, Sigi Hupfauer and a Sherpa climber reached the summit via the north-east face. In the same year, a Spanish expedition led by Jaume Garcia Orts could reach only to . The first Japanese women expedition led by Kyoko Sato was successful on May 4, 1974, when all members reached the summit after a failed attempt from the east ridge. They thus became the first women to climb a peak higher than. However, one climber died on May 5 when she fell between camps 4 and 5.


title: Manaslu

text: In the pre-monsoon period of 1980, a South Korean team led by Li In-jung reached the summit via the normal route, which was the eighth ascent to the peak. The year 1981 marked several expeditions: the largest contingent of 13 climbers of a team organized by the Sport-Eiselin of Zurich led by H. V. Kaenel, made it to the summit along the normal route; in autumn, French mountaineers opened a new route, a variation of the west face route; and a Japanese team, led by Y. Kato, made an ascent via the normal route. In 1983, two climbers from Yugoslavia, trying to climb the peak from the south face, were buried under an avalanche. One of them was Nejc Zaplotnik, a notable climber of Slovenian origin. A Korean team reached the summit in the autumn of the same year. A German team led by G. Harter was successful in climbing the peak via the south face, which followed the "1972 Tyrolean Route".


title: Manaslu

text: On May 10, 1983, four men from the Joint Services East Nepal Expedition made the first British ascent of Manaslu North using a totally new route, special permission from the Nepalese Government having been granted to access an area normally denied to Europeans; the team was led by Major Douglas Keelan of the Royal Marines and included members from the Royal Navy, Royal Air Force and Royal Marines.


title: Manaslu

text: During the winter of 1983–84, a Polish team led by L. Korniszewski successfully followed the Tyrolean Route. On January 12, 1984, Maciej Berbeka and Ryszard Gajewski of that expedition made the first winter ascent via the normal route.


title: Manaslu

text: In the spring season of 1984, a Yugoslav team led by A. Kunaver climbed the peak via the south face. During the same year, in autumn, Polish teams climbed the south ridge and south-east face.


title: Manaslu

text: On November 9, 1986, Jerzy Kukuczka, Artur Hajzer, and Carlos Carsolio made the first climb of the east summit (7894 m) of Manaslu. The next day, Kukuczka and Hajzer reached the summit via a new route, ascending the east ridge and descending the north-east face.


title: Manaslu

text: On May 2, 1993, Sepp Brunner, Gerhard Floßmann, Sepp Hinding and Dr. Michael Leuprecht reached the summit via the normal route and descended on skis from to the basecamp. The Austrian expedition was led by Arthur Haid. On December 8, 1995, Anatoli Boukreev summited Manaslu with the Second Kazakhstan Himalaya Expedition. On May 12, 1996, Carlos Carsolio and his younger brother Alfredo, reached the summit of Manaslu. For Carsolio it was his fourteenth and final eight-thousander, becoming the fourth person in history and the youngest to achieve the feat. In 1997, Charlie Mace made the first American ascent.


title: Manaslu

text: During the spring of 2000, there were four expeditions to Manaslu. One climb was on the east face by the 'Japan 2000 Expedition' led by Yoshio Maruyama. The other three were on the north-east ridge: the ETB 2000 Expedition of Spain led by Felix Maria I. Iriate; the 2000 Korean Manaslu Expedition of Korea led by Han Wang Yong; and the Manaslu 2000 Expedition from Italy led by Franco Brunello. On May 22, 2001, a three-member team of Ukraine Himalaya 2001 Expedition comprising Serguiy Kovalov, Vadim Leontiev and Vladislav Terzyul successfully summited Manaslu via the challenging south-east face; all climbed without oxygen support. During the autumn of 2001, three members and a sherpa of the Japan Workers Alpine Federation climbed the peak via the north-east face on October 9, 2001.


title: Manaslu

text: On May 13, 2002, five Americans, Tom Fitzsimmons, Jerome Delvin, Michael McGuffin, Dan Percival and Brian Sato and two Sherpas reached the summit.


title: Manaslu

text: Piotr Pustelnik and Krzysztof Tarasewicz climbed Manaslu on May 17, 2003. However, Dariusz Zaluski, Anna Czerwinska and Barbara Drousek, who started the climb after Piotr and Krzysztof, had to turn back due to strong winds and bad weather. With this ascent Pustelnik had summited 12 on his way to summiting the world's 14 highest peaks.


title: Manaslu

text: On May 29, 2006, Australian mountaineer Sue Fear died after falling into a crevasse on her descent after summitting. In 2008, Valerie Parkinson was the first British woman to climb Manaslu.


title: Manaslu

text: In 2011 Arjun Vajpai, an Indian mountaineer, summitted Manaslu on October 5 and became the youngest climber in the world to have summitted Manaslu at the age of 18.


title: Manaslu

text: On September 25, 2014, Polish ski-mountaineer Andrzej Bargiel set a record time from base camp to summit at 14 hours 5 minutes and also record time for base-peak-base of 21 hours 14 minutes.


title: Manaslu

text: In 2021 Qatari mountaineer, Asma Al Thani, summited and became the first Arab to do so without oxygen.


title: Manaslu

text: On the morning of September 26, 2022, an avalanche struct the route 24,000 ft., just below Camp IV at Mount Manaslu, enveloping 13 climbers which also killed Nepali guide Anup Rai. The climbers were ferrying logistics to the high camps before their summit push.


title: Manaslu

text: On the same day, American ski mountaineer Hilaree Nelson fell down more than 1,800 metres (6,000 ft) from the summit of Mount Manaslu while skiing with her partner, Jim Morrison. On September 28 her body was located above the Thulagi glacier on the south-west face of Mount Manaslu and was flown to Kathmandu by rescuers.


title: Manaslu

text: Traditionally, the "spring" or " pre-monsoon" season is the least hazardous for bad weather, snowfall, and avalanches. Manaslu is one of the more risky 8000ers to climb: as of May 2008, there have been 297 ascents of Manaslu and 53 deaths on the mountain, making it "the 4th most dangerous 8000m peak, behind Annapurna, Nanga Parbat, and K2."