Mitsuo Iso
磯 光雄
PronunciationIso Mitsuo
Born1966
Aichi, Japan
NationalityJapanese
Other names小田川 幹雄, 贄田 秀雄, MISSILE☆MAX
(Mikio Odagawa, Hideo Nieda)
Occupation(s)Animator, Animation director, Filmmaker, Screenwriter, Cinematographer
Years active1985-present
Known forDennō Coil
WebsiteIMAGO-IMAGE

Mitsuo Iso (磯 光雄, Iso Mitsuo, born 1966 in Aichi, Japan) is a Japanese animator, director.[1][2] He worked as a freelance artist through Neomedia, Studio Zaendo, and Studio Ghibli.[1][2] When he participates in anime works as an animator, he sometimes uses aliases such as Mikio Odagawa and Hideo Tateda, or does not give his name.

Iso is known for his offbeat key animation in the prologue of Gundam 0080, large portions of Asuka's battle in The End of Evangelion and the first half of the tank battle in Ghost in the Shell.[3][4]

Career

After dropping out of university, Iso began working as an animator in the mid-1980s.[5]

He worked on the 1988 film Mobile Suit Gundam: Char's Counterattack as mechanical animation director and key animator.[6] As he had previously participated in the Gundam TV series, he joined the film as a key animator under the name of Mikio Odagawa, without going through Zaendo, and later also became the animation director.[6][7] He was then asked by Sunrise, an animation studio, to act as an intermediary for job offers to the company, and worked under his real name as a job through the company.[6][7] As a result, he worked under both his pen name Odagawa and his real name.[6][7]

The battle scene at the beginning of the 1989 OVA Mobile Suit Gundam 0080: War in the Pocket made a strong impression on the anime industry and anime fans about Iso.[8] Until then, mobile suits (humanoid giant robots) had mostly been depicted as a whole "mass", but Iso thought that if it was a machine body, it should be separated from the skeleton (chassis), and realized an animation in which the robot's material and structure could be seen. And he expressed the fear of giant weapons by using camera angles that forced the audience to look far above.[4] He also carefully picked up the details of secondary effects such as air resistance to missile launches and vehicles floating in the blast to create realistic battle scenes. In particular, his drawing philosophy of accumulating what could happen on the screen had a great influence on the drawing of realistic anime in the following years.[9] In this work, an explosion effect called "Iso Explosion" is noticeable.[8] Director Fumihiko Takayama gave him the opportunity to do some niche design work, and he designed some of the mecha designs and military equipment.[10]

He was with Studio Ghibli from 1990-1992.[3] He was recruited directly by Hayao Miyazaki of Studio Ghibli, who saw his work on the television film Like the Clouds, Like the Wind (1990).[11] Iso drew keyframes in Only Yesterday, Porco Rosso, Ocean Waves.[10]

Iso joined Roujin Z (1991), based on Katsuhiro Otomo's manga, as a mechanical animation director at the request of director Hiroyuki Kitakubo.[11][12] However, he was not involved in the actual production as he was asked to participate in Only Yesterday at the meeting stage.[11] He then only worked on additional designs at the request of Kitakubo.[11][13]

After leaving Ghibli, he lived in Shanghai for four months to work on Madhouse's OVA Final Fantasy: Legend of the Crystals.[14][15][16] He then joined in the omnibus animation film MEMORIES (1995), for which Katsuhiro Otomo was the executive producer and general director. He received an offer from Studio 4°C to work on props for Episode 1: Magnetic Rose, directed by Kōji Morimoto.[17] He also participated in the planning meetings for Morimoto's Noiseman Sound Insect (1997).[18]

Iso joined the Neon Genesis Evangelion television series (1995-1996) and the film (1997).[1] As it was one of the few productions in which Iso was able to participate from the planning stage, he was involved throughout the entire production, not just in his credited position.[19][20][21] Iso was initially approached as an animator, but he actively marketed himself for other positions and sent Faxes with his ideas to director Hideaki Anno on a daily basis.[20][21][22] After the first meeting Iso asked Anno to show him the script and storyboard. He gave his opinion on them and showed off his script to Anno, which was accepted.[23] When Iso asked Anno about the storyline for the second half of the season, little had been decided at that point other than the subtitles for each episode in the proposal. He therefore asked Anno for permission to come up with a plot leading up to the final episode. Although Iso's name is not credited, the storyline up to episode 19, the plots of episodes 21 and 24[a], the battle between Evangelion and the Japan Strategic Self Defence Force, and the detailed ideas and dialogue for each episode were used. Iso's idea for the plot of the last episode was not adopted, so he diverted part of it to the final episode of Dennō Coil.[b][24][25] On the other hand, Iso's name is credited in keyframes, scripts and supplementary settings (designs). As an animator, he drew the urban battle between Sachiel and the UN forces in episode 1 of the TV series, the scene where EVA Unit-01 preys on Zeruel in episode 19, additional scenes in the video format version of episode 21, and the battle between EVA Unit-02 and EVA Mass Production Units in the movie The End of Evangelion[c] (episode 25 of the video version).[21][27] He also wrote the script for episode 13 with Akio Satsukawa and Hideaki Anno.[28] Iso's first draft was too long, so Satsukawa summarized it, and director Anno made some changes.[21] The ending of the final draft was somewhat disappointing for Iso, as Anno used an idea that Iso had intended to use in another episode as a punchline.[20] In these episodes 13 and 15, Iso designed supplementary settings, including Lilith, Seele marks, rough sketches of underground facilities, etc.[20][21][29]

In Ghost in the Shell (1995), he not only drew the key animations, but also designed all the firearms.[2] Oshii, having seen Iso's previous works and mistaking him for a gun enthusiast, approached him, but in fact he did not have a very good image of guns and did not know the basics, so he studied about guns anew.[30] As an animator, Iso was in charge of the shoot-out at the museum between the main character Motoko Kusanagi and the multi-legged tank.[4] In order to draw the spider-like tank, he actually captured a live spider and placed it in a beaker to observe its complex leg movements, centre of gravity shifts and other behaviour all day.[26] The layouts were filled with detailed explanations, instructions and requests to the art direction, and sometimes this was not enough, so he went directly to the art director for explanations and meetings.

In FLCL (2000), he drew the key animations. He worked with director Kazuya Tsurumaki for about six months on a preliminary project, titled Furi Chiru. Some of his ideas were adopted, but the project itself was never realised. This is because Iso created most of the settings and storylines, although Tsurumaki came up with the terminology and character names.[28][31]

In Blood: The Last Vampire (2000), he was in charge of the film's climactic action scenes.[2][12] In this film, which marked the beginning of the trend towards digital animation production in Japan, Iso appealed directly to director Hiroyuki Kitakubo to handle all of his own keyframe parts, including cinematography (digital compositing) and visual effects.[1][12][27] Production I.G's introduction of computers in their studios made it possible for the key animators to add special effects to their key animations, which had previously been assigned to the cinematographer.[8] Director Quentin Tarantino made a live-action film Kill Bill: Volume 1 (2003), inspired by this work, and asked Production I.G to produce the animated inserts, which Iso also participated in.[2][32][33]

In RahXephon (2002), he began working in the Digital Works and cinematographer positions throughout this television series, using special effects and CG to modify drawings and art.[27][34] In episode 15 (The Children's Night), he wrote the script, storyboarded, and directed, and was also in charge of some of the drawing and cinematography, overseeing a cross-section of jobs that were originally divided.[d][2] This was the first time he had worked on storyboarding and directing.[2] Iso decided to join the work on the condition that he would work on an entire episode by himself.[35]

In 2007, Iso directed his first animated television series, Dennō Coil.[36] He wrote the original story and the screenplay for all the episodes, and won the Nihon SF Taisho Award and the Seiun Award as a science fiction writer.[1][37] The work depicts everyday life in the near future, when wearable devices called Dennō Glasses have become widespread, and has had a profound influence on later XR technicians and artists.[3] The project had been in the pipeline since around 2000 and finally came to fruition after seven years with the cooperation of producer Sanae Mitsugi of Tokuma Shoten and producer Masao Maruyama of Madhouse (at the time).[38][39]

In 2016, he gave a presentation introducing his original animation projects Les pirates de la Réunion et les dodos (レユニオンの海賊とドードー鳥, Re-Yunion no Kaizoku to DōDō-dori, lit. The Pirates of the Reunion and the Dodos) and The Orbital Children (地球外少年少女, Chikyūgai Shōnen Shōjo, lit. Extraterrestrial Boys and Girls) in a series in an anime magazine. In the same year, Iso and French animation studio yapiko animation announced at Japan Expo 2016 that they would jointly produce Les Pirates de la Reunion Le Reveil des dodos.[40] However, the project has been put on hold because The Orbital Children project preceded this one.[41]

Iso announced the production of The Orbital Children in 2018, and began full-scale production of the film in 2020.[42] The Orbital Children was released exclusively worldwide on Netflix on 20 January 2022, and was released in theatres in Japan as a two-part film, the first part on the same day as Netflix and the second part on 11 February 2022.[43] He wrote the original story and screenplay for the work, and directed it. He is also credited for the cinematography.[44] Kenichi Yoshida was brought on as character designer and Toshiyuki Inoue as main animator.

Style

As an animator

Mitsuo Iso is known for his jerky yet detailed animation, full of dense sophisticated motion. He refers to his own style as "full limited". In traditional animation, animation with a drawing count below one drawing every two frames (or "on twos") is considered limited animation. Mixing twos, threes and fours in a balanced form of timing, Iso draws every keyframe without passing his work to an in-betweener, allowing him full control to create the most detailed motion possible with a balanced and efficient number of drawings, hence the term "full limited".[45][46] Iso's idea of "full limited" is a method for controlling the image from the animator's standpoint, and he has the calculation that if he draws everything in key animation, the timesheets will not be modified by the director.[47]

Iso's thoroughgoing drawing style is highly supported not only by anime fans but also by animators in the same industry.[48][49][50] He was one of the animators who played a central role in the movement from the late 1980s to the 1990s, when "realistic" oriented expressions matured in Japanese animation drawing, by creating animation drawings that were described as "realistic", such as depictions of characters and mechanics that made us feel weight and mass, and effects such as explosions and smoke flames.[8][51] His drawings are very realistic and photorealistic, and the reality of his movements comes from his thorough, scientific observation. On the other hand, he has never abandoned the appeal of animation, such as entertainment and showiness.[52]

Iso has covered a wide variety of genres and professions, and has demonstrated his talent in each of them. [35] What distinguishes him as an animator is his willingness to go beyond the confines of his section, which has allowed him to pioneer a new expression of animation.[53] Since the production site of commercial animation is a race against time, the division of labor is common, with each process divided into smaller sections and job categories defined so as not to encroach on each other's job areas. However, Iso goes beyond this framework with the belief that the overall quality of the work will definitely be higher if he is aware of the process before and after.[28]

Every time Iso makes a new work, he takes on a new role other than animator, such as screenplay for Evangelion, cinematographer for Blood: The Last Vampire, and direction for RahXephon, new techniques such as digital animation, computer graphics, and special effects, new drawing tools and software.[27] The reason why he finally worked on cinematography is because animators can only leave the rest to the post-process once they have finished drawing with black and white lines, but if they work on cinematography, they can complete the scene by themselves.[47]

Iso has a consistent orientation of wanting to dig deep and touch something that lies at the root of a work, even if it is someone else's work. This is in line with his orientation as an animator to deconstruct the principles of movement.[20] The visual image that integrates the world view, setting, design, drawing, and cinematography of the work was already in his mind when he was working on other directors' works.[35]

There are a lot of things that he wants to do, so he cannot fit into just one staff. As a result, he tends to make other director's work his own.[28]

The division of labour is common in animation production as it is a struggle against time, but Iso is convinced that the overall quality of the work can be improved by being aware of the processes before and after rather than by not interfering with each other.[28]

All camera shaking is done by Iso with After Effects. In the analogue days he would give the cinematographer a handwritten scale for instructions.[54]

As a director

Iso is a director who can create all the ideas for producing an animation work by himself, including visual aspects such as character, mechanic and prop design.[26]

Iso is involved in almost all work processes and controls everything himself.[4][55] This production style is rare in Japanese animation, especially in TV animation, and is similar to Hayao Miyazaki's Future Boy Conan in terms of consistency from script and storyboard to layout and drawing, and to Makoto Shinkai's personal work Voices of a Distant Star from his indie days in terms of comprehensiveness with the addition of cinematography.[26] Even in music production, he repeatedly discusses with the composers of theme songs and soundtracks until he is satisfied.[56]

Unlike when working as an animator, Iso focuses more on dialogue and story development and does not try to move the animation too much.[26][57]

Iso makes as many variations of the story as possible when creating original works. The number of drafts reached 30 for Dennō Coil and 100 for The Orbital Children. By writing different patterns of plots and examining them all, he explores storylines he had not thought of and decides whether they are interesting enough for him as an audience.[55][58]

Iso controls the footage in the final production process, cinematography, to ensure perfection.[4][44]。 He controls all final footage through digital compositing work in After Effects, which includes not only the compositing of the video material but also directorial decisions such as adding effects and adjusting key animations.[59]

Works

Title Year Format Role
Direction Animation Script Setting Other
Ninja Senshi Tobikage 1985 TV
  • Key animation (eps 35, 40)
Mobile Suit Zeta Gundam 1985 TV
  • inbetweening
Mobile Suit Gundam ZZ 1986 TV
  • inbetweening
  • Key animation
Machine Robo: Revenge of Cronos 1986 TV
  • Key animation (eps 18, 38)
Metal Armor Dragonar 1987 TV
  • Key animation (eps 29, 32, 36)
GeGeGe no Kitarō 1987 TV
  • Key animation (eps 97, 99[e], 102[f], 104)
  • Inbetween animation (ep 88)
Mashin Hero Wataru 1987 TV
  • Key animation (ep 279[g])
Transformers: Super-God Masterforce 1988 TV
  • Key animation (eps 6, 12[h], 18, 24)
Peter and Wendy 1989 TV
  • Key animation (ep 20[i])
Ocean Waves[j] 1993 TV
  • Key animation
Neon Genesis Evangelion 1995 TV
  • Key animation (eps 1, 19, 21 (video version)[k])
  • Script (ep 13)
  • Setting assistance (eps 13, 15)
  • Settings for the entire series[l][i][21][29]
Rurouni Kenshin 1996 TV
  • Key animation (OP1)
RahXephon 2002 TV
  • Episode director (ep 15)
  • Storyboards (ep 15)
  • Key animation (eps 2, 15)
  • In-between animation (ep 15)
  • Script (ep 15)
  • Digital work and CGI (eps 2, 3)
  • After effects (eps 4-10, 12, 14-26)
Dennō Coil 2007 TV
  • Director
  • Storyboards (OP, ED, eps 1, 12, 17, 19, 26)
  • Key Animation (eps 1, 4, 12, 26)
  • Original Story
  • Script
  • Character rough design
  • Settings for the entire series
  • Art setting (ep 2)
  • Digital Effects
  • Cinematography (ep 26)
Mobile Suit Gundam 0080: War in the Pocket 1989 OVA
  • Key animation (eps 1, 4, 5)
  • Mechanical design
Explorer Woman Ray 1989 OVA
  • Key animation (ep 1)
  • Mechanical design
Gosenzo-sama Banbanzai! 1989 OVA
  • Key animation (eps 4, 6)
The Hakkenden 1990 OVA
  • Key animation (ep 1)
Like the Clouds, Like the Wind 1990 OVA
  • Key animation
Teito Monogatari 1991 OVA
  • Key animation (ep 2)
Yumemakura Baku Twilight Gekijō 1991 OVA
  • Key animation
JoJo's Bizarre Adventure 1993 OVA
  • Key animation (ep 13[m])
Super Dimension Century Orguss 1993 OVA
  • Key animation (ep 5)
Final Fantasy: Legend of the Crystals 1994 OVA
  • Key animation (ep 2[n])
  • Effects animation supervisor[n]
Giant Robo (OVA) 1994 OVA
  • Key animation (ep 5)
Mighty Space Miners 1994 OVA
  • Key animation (ep 2)
Golden Boy 1995 OVA
  • Key animation (ep 4)
Voogie's Angel 1997 OVA
  • Key animation (ep 3[o])
Blue Submarine No. 6 1998 OVA
  • Key animation (ep 1)
FLCL 2000 OVA
  • Key animation (ep 6)
Mobile Suit Gundam: Char's Counterattack 1988 Film
  • Animation director[o]
  • Key animation[p]
Only Yesterday 1991 Film
  • Key animation[q]
Roujin Z 1991 Film
  • Mechanical design[r]
Porco Rosso 1992 Film
  • Key animation
Hashire Melos! 1992 Film
  • Key animation
Kattobase! Dreamers 1994 Film
  • Layout assistance
Junkers Come Here 1995 Film
Ghost in the Shell 1995 Film
  • Key animation
  • Firearm design
Magnetic Rose (Memories) 1995 Film
  • Key animation
  • Imageboards
  • Firearm design
The End of Evangelion 1997 Film
  • Key animation
Perfect Blue 1998 Film
  • Key animation
Digimon Adventure 1999 Film
  • Key animation[o]
Blood: The Last Vampire 2000 Film
  • Key animation
Cowboy Bebop: The Movie 2001 Film
  • Key animation[v]
  • Digital work[o]
RahXephon: Pluralitas Concentio 2003 Film
  • Digital work
Steamboy 2004 Film
  • Pre-production conceptual development
Welcome to the Space Show 2010 Film
  • Key animation[o]
Giovanni's Island 2014 Film
  • Key animation[i]
The Case of Hana & Alice 2015 Film
  • Cooperation in animation drawing
Kill Bill 2003 Film
  • Key animation[w]
Les Pirates de la Réunion suspended Film
  • Director
  • Original Story
  • Script
Napping Princess 2017 Film
  • Key animation
The Orbital Children 2022 Film
  • Director
  • Storyboards
  • Key animation
  • Original Story
  • Script
  • Character rough design
  • Settings for the entire series
  • Art setting
  • Digital Effects
  • Cinematography
Children of Ether 2017 Webcast
  • Key animation
Blade Runner Black Out 2022 2017 Webcast
  • Key animation
  • Cooperation in cinematography
Popolocrois 1996 Game
  • Key animation
Ghost in the Shell 1997 Game
  • Layout system
  • Key animation

Awards

Notes

  1. ^ Only the first half of the plot was used in episode 21, while the plot was partially used in episode 24.
  2. ^ Iso's proposed storyline up to the final episode was that Asuka's (or Rei's) Evangelion explodes, 12 angels descend on NERV headquarters, Shinji and Gendo head to the ancient ruins beneath the headquarters in their respective Evangelions, where they meet Yui again, and finally Shinji dives inside the Evangelion and revives Asuka (or Rei), who has lost her physical body and fused with her Evangelion.
  3. ^ He drew the scene with thorough attention to the basis of the movement, such as the hardness of the scaffolding and the weight of the handheld weapons, and also added various innovations, such as shooting handheld camera style with blurring and shaking to move the viewpoint.[26]
  4. ^ Episode 15, known as "The Iso Episode".
  5. ^ Ballet scene in the beginning.
  6. ^ Classroom scene after the title.
  7. ^ Workers panicking.
  8. ^ From cancer raging from the bed to computer exploding.
  9. ^ a b c d e f Uncredited.
  10. ^ It was later released in theaters.
  11. ^ Pre-title sequence.
  12. ^ Iso set up the names and details of the facilities and so on.
  13. ^ original 6.
  14. ^ a b Under the pseudonym Hideo Nieda.
  15. ^ a b c d e f g Under the pseudonym Mikio Odagawa.
  16. ^ Credited as both Mitsuo Iso and Mikio Odagawa.
  17. ^ Taeko's childhood, including the dodgeball scene.
  18. ^ Various designs including hospital equipment.
  19. ^ Monologue scene in the end.
  20. ^ a b c Only his own key animation part.
  21. ^ Effects and cinematography.
  22. ^ Uncredited (presumed).
  23. ^ Animated scene in the live-action film.

Citations

  1. ^ a b c d e ANIMATION WORKS preproduction 2023, p. 400.
  2. ^ a b c d e f g Den-noh Coil Proposal 2008, p. 80.
  3. ^ a b c "『電脳コイル』の監督、磯光雄氏がXRコンテンツアワード「NEWVIEW AWARDS 2021」の審査員に決定" [Mitsuo Iso, director of Dennō Coil, has been selected as a judge for the XR Content Awards NEWVIEW AWARDS 2021.]. Real Sound (in Japanese). blueprint. October 9, 2021. Retrieved October 12, 2021.
  4. ^ a b c d e "【連載】タニグチリウイチの「今のアニメを知るために」第2回：どこまでも虚構でどこまでも現実、押井守監督編". IGN Japan (in Japanese). Sankei Shimbun. July 26, 2020. Retrieved July 22, 2021.
  5. ^ "物語という嘘で真実に近づく 『電脳コイル』で日本SF大賞 磯 光雄さん（アニメ監督）" [Approaching the truth through the lie of storytelling, Winner of the Japan Science Fiction Grand Prize for Dennou Coil, Mitsuo Iso (animation director)]. Tokyo Shimbun (in Japanese). 20 December 2008. Archived from the original on 21 January 2009. Retrieved 30 November 2023.
  6. ^ a b c d "封入特典「逆襲のシャア ドキュメントコレクション」収録インタビュー冒頭公開". 『機動戦士ガンダム 逆襲のシャア』公式サイト (in Japanese). Sunrise. September 11, 2015. Retrieved October 17, 2021.
  7. ^ a b c ANIMATION WORKS preproduction 2023, p. 250.
  8. ^ a b c d 安原まひろ (June 29, 2018). "アニメーションにおける｢リアル｣とはなにか『磯光雄ANIMATION WORKS』". メディア芸術カレントコンテンツ (in Japanese). Agency for Cultural Affairs. Retrieved October 12, 2021.
  9. ^ Animage 2008, p. 87, 89.
  10. ^ a b Animage 2008, p. 87, 90.
  11. ^ a b c d ANIMATION WORKS preproduction 2023, p. 265.
  12. ^ a b c Animage 2008, p. 88.
  13. ^ Animage 2008, p. 88-89.
  14. ^ ANIMATION WORKS preproduction 2023, p. 179.
  15. ^ "浅香守生（監督）×濱田邦彦（キャラクターデザイン、総作画監督）インタビュー②" (in Japanese). Madhouse. Retrieved 30 November 2023.
  16. ^ Matteo Watzky (28 January 2022). "Toshiyuki Inoue discusses three decades of Mitsuo Iso – Interview". fullfrontal.moe (in Japanese). Retrieved 27 November 2023.
  17. ^ ANIMATION WORKS preproduction 2023, p. 286.
  18. ^ ANIMATION WORKS preproduction 2023, p. 294.
  19. ^ ANIMATION WORKS preproduction 2023, p. 116, 400.
  20. ^ a b c d e Animage 2008, p. 89-90.
  21. ^ a b c d e f "アニメ様の七転八倒 第46回 エヴァ雑記「第拾参話 使徒、侵入」". WEBアニメスタイル (in Japanese). 株式会社スタイル. June 5, 2006. Retrieved July 30, 2021.
  22. ^ ANIMATION WORKS preproduction 2023, p. 181.
  23. ^ ANIMATION WORKS preproduction 2023, p. 116, 140-141.
  24. ^ ANIMATION WORKS preproduction 2023, p. 137.
  25. ^ ANIMATION WORKS preproduction 2023, p. 137, 144, 160, 165, 355.
  26. ^ a b c d e Animage 2008, p. 87.
  27. ^ a b c d "連載「理想のアニメ原画集を求めて」第57回『磯光雄 ANIMATION WORKS vol.2』". ニコニコチャンネル (in Japanese). Dwango. January 16, 2018. Retrieved October 17, 2021.
  28. ^ a b c d e Animage 2008, p. 89.
  29. ^ a b 磯光雄 [@IsoMitsuo] (January 24, 2017). "古い資料を整理してたら出てきたので供養シリーズ第6弾" (Tweet) (in Japanese). Retrieved July 30, 2021 – via Twitter.
  30. ^ ANIMATION WORKS preproduction 2023, p. 62.
  31. ^ ANIMATION WORKS preproduction 2023, p. 8.
  32. ^ Animage 2008, p. 84.
  33. ^ "アニプレックス、「BLOOD THE LAST VAMPIRE」をBlu-ray化". AV Watch (in Japanese). Impress. 17 February 2009. Retrieved 27 November 2023.
  34. ^ Animage 2008, p. 88-90.
  35. ^ a b c Animage 2008, p. 90.
  36. ^ "電脳コイル：宮崎、庵野に続く"新星"磯光雄が初監督 NHKの新オリジナルアニメ" [Dennō Coil: NHK's new original animation directed by "rising star" Mitsuo Iso for the first time, following in the footsteps of Miyazaki and Anno]. Mantan web (in Japanese). 12 April 2007. Archived from the original on 15 April 2007. Retrieved 30 November 2023.
  37. ^ "科学とフィクション、その果てしなき「イタチごっこ」の行方". Wired (in Japanese). Condé Nast. June 20, 2020. Retrieved October 17, 2021.
  38. ^ ANIMATION WORKS preproduction 2023, p. 310.
  39. ^ 増田弘道 (27 January 2022). "『電脳コイル』の才人・磯光雄が『地球外少年少女』で本領発揮! 歴史に残るジュブナイル・アニメはいかにして生まれたか". BANGER!!! (in Japanese). Discovery Japan. Retrieved 30 November 2023.
  40. ^ "Anime Director Mitsuo Iso Teaming Up With French Studio". Crunchyroll. July 8, 2016. Archived from the original on July 10, 2016. Retrieved October 12, 2021.
  41. ^ ANIMATION WORKS preproduction 2023, p. 24.
  42. ^ "『電脳コイル』の磯光雄氏による新作オリジナルアニメ『地球外少年少女』2022年初春公開決定。吉田健一氏がキャラクターデザインを担当". Famitsu (in Japanese). KADOKAWA. October 27, 2020. Retrieved July 30, 2021.
  43. ^ "磯光雄と吉田健一の宇宙の旅（後編） 井上俊之の戦車のような仕事ぶり、見た人の景色を変える磯監督 : ニュース - アニメハック". eiga.com. Archived from the original on October 6, 2023. Retrieved November 19, 2023.
  44. ^ a b 小山田裕哉 (21 February 2022). "『地球外少年少女』の磯 光雄監督は、なぜ「撮影」も自身でやるのか【後編】". Weekly Playboy (in Japanese). Shueisha. Retrieved 30 November 2023.
  45. ^ "KARISUMA ANIMA-TORS". AniPages Diary. Archived from the original on September 21, 2021. Retrieved October 17, 2021.
  46. ^ "Mitsuo Iso". Anipress Daily. November 18, 2005. Archived from the original on September 28, 2007. Retrieved October 17, 2021.
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