Legendary Anime Quotes

A lamb was a young animal which was legendary for sleeping well on the planet Earth.

There are three youthful behaviors that together make up what has come to be known as the homicidal triad: enuresis (bed-wetting) beyond an appropriate age, fire starting, and cruelty to animals and/or smaller children.

I would like to humbly add to this great tradition [Carl Sagan’s legendary quote that “extraordinary claims require extraordinary evidence”] by suggesting a razor of my own: that extraordinary harm and mistreatment requires extraordinary justification.

I love cheetahs. Every moment of every day is spent in fear of dying a terrible death yet they always carry themselves elegantly, remain loyal to their family, and never complain about anything.

privilege is founded on duty, and if the horse carries the man, the animal is fed before the rider himself doth eat. Thus in certain respects the first comes last, and the greatest king is the loneliest.

Would the Gardners and the workers at the Yerkes Primate Center be remembered dimly as legendary folk heroes or gods of another species? Would there be myths, like those of Prometheus, Thoth, or Cannes, about divine beings who had given the gift of language to the apes?

Thinking would seem to be a completely solitary activity. And so it is for the other animal species. But for humans, thinking is like a jazz musician improvising a novel riff in the privacy of his own room. It is a solitary activity all right, but on an instrument made by others for that general purpose, after years of playing with and learning from other practitioners, in a musical genre with a rich history of legendary riffs, for an imagined audience of jazz aficionados. Human thinking is individual improvisation enmeshed in a sociocultural matrix.

the legendary racehorse Seabiscuit, considered by the so-called experts to lack star capability. He had none of the traditional earmarks of the truly great horses, yet he ran with heart and became a successful champion. As an interesting sidelight, it is understood in the race-horse culture that only champion horses receive a formal burial ceremony when they die. The heart and head are buried, while the body is discarded, because those intimately associated with the animal know that it became a champion by demonstrating courage (from the French word coeur, meaning heart), tenacity, fearlessness, and the willingness to suffer pain—all qualities of a true warrior. Among people as well, the heart and the head make the champion.

Kintaro was a legendary Japanese hero who’s gone by many names, but mostly he uses the one his witch mother gave him. He made some cooing noises, and a small flock of pigeons suddenly dive bombed me. “Just giving you some motivation.” In addition to having strength in Herc’s class, Kintaro also talked to animals. Now I realize a lot of people in Central Park talk to the pigeons—as well as rocks and lampposts—but when Kintaro speaks, animals listen.

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

The journey from Rome to Siena is harder than its distance warrants. Once outside the great walls of the city the route becomes as treacherous for humans as for animals. Before the coming of Our Lord, when men knew no better than to worship an army of badly behaved gods, the countryside around Rome was legendary for its fertility, with well-kept roads filled with carts and produce pouring into the city’s markets. But over centuries of the true faith, it has degenerated into wilderness and brigandry, divvied up between the families of the great Roman barons; men hidden inside castles and fortresses who would prefer to carry on slaughtering each other than to create stability together.

We thought we should list all legendary animals," Nigel explained – apparently without realizing it – why they had visa problems. "Can't hurt to ask. Dragons are real, right?" "Elves say they are." Jane desperately wanted a scotch but if she had one, Hal couldn't resist needing one, and she didn't want go back down that road. "This list is suicidal if you're not willing to defend yourself. This isn't Earth, where you can sit in your Jeep and take picture of lions, or go sit in the middle of a bunch of apes. Most of these things will peel open an SUV like it’s a can of sardines and make a snack of everything inside." "It would be amusing to watch but it would end badly for you," Hal murmured. It was hard to tell if he was making a play on his previous statement or if he didn't realize he was repeating himself. "The list is a starting point." Nigel leaned forward, face lighting up with inner fire. "To get us in the door. What we want is all of Elfhome. To revel in all that it has to offer. The virgin iron wood forest. The beautiful immortal elves. The strange and magical beasts. And the humans that live peacefully side by side with all this." Jane shook her head, trying to resist the power of a TV host beaming at her one-on-one. "Don't snow job me." "I've seen this kind of shit before," Taggart said with quiet intensity. "When a country goes dark, its means someone has something it's trying to hide. And often what they're hiding is horrible war crimes like mass graves and attempted genocide. Someone is keeping the media out of Pittsburgh.

They managed to chase the Quadlings out and kill them, round them up in settlement camps for their own protection and starve them. They despoiled the badlands, raked up the rubies, and left. My father went barmy over it. There never were enough rubies to make it worth the effort; we still have no canal system to run that legendary water from the Vinkus all the way cross-country to Munchkinland. And the drought, after a few promising reprieves, continues unabated. The Animals are recalled to the lands of their ancestors, a ploy to give the farmers a sense of control over something anyway. It’s a systematic marginalizing of populations, Glinda, that’s what the Wizard’s all about.” “We were talking about your childhood,” said Glinda. “Well that’s it, that’s all part of it. You can’t divorce your particulars from politics,” Elphaba said. “You want to know what we ate? How we played?

By the 1920’s, the wolves had been all but eliminated from the continental United States, except for a small population in northern Minnesota and Michigan’s upper peninsula. It was a campaign unprecedented in its scope and thoroughness. One species almost completely whipped out another. The impetus for the killing was clear enough, but as Barry Lopez asked in “Of Wolves and Men”, his seminal meditation on the fraught relationship between the two species, why did the pogrom continue, even after the threat to the westerner’s way of life was essentially gone? Why did our ancestors feel they had to rout out every last wolf, and why were hunters still so eager to shoot them in the few places they remained? There was hate, Lopez decided, but there was something else, too. Something more akin to envy. Here is an animal capable of killing a man, an animal of legendary endurance and spirit, an animal that embodies marvelous integration within its environment. This is exactly what the frustrated modern hunter would like, the noble qualities imagined, a sense of fitting into the world. The hunter wants to be the wolf.

We walked the circuit, passing the food stands frying funnel cakes and burgers, and the game booths, ceilings bristling with giant, multicolored stuffed animals. I paused in front of the crossbow game. Nicholas cocked an eyebrow. “Want me to win you a stuffed bunny?” “Ha.” I rubbed my hands together. “I’ll win my own stuffed bunny, thanks very much.” Nicholas passed the attendant a few dollars to pay for my turn. “I guess it’s nice to see you use your legendary aim for something other than breaking my nose,” he teased. “The night is young,” I snapped back, lifting the plastic crossbow. “This is a pathetic weapon,” I muttered. “I couldn’t stake an undead mouse with this thing.” “It’s supposed to be a game, remember?” he whispered, laughter in his dark voice. I fired my three shots, all crowding into the bull’s-eye. With a triumphantly smug toss of my head, I looked at the openmouthed attendant. “I want the purple bunny.” He tugged it down and passed it over to me. I slipped it into my bag while Nicholas shook his head. “Dump this loser, Lucy, and run away with me. You’ll never have to win your own cross-eyed bunny again.” I grinned up at Nicholas’s brother Quinn, who was smiling his charming smile, his arm draping casually over my shoulder. Hunter rolled her eyes at me from my other side. “No way,” I said. “My aim’s better than yours. Plus, your girlfriend can hurt me.” “Ooh,” Quinn said, winking. “Catfight. Hot.” He grinned. “Ouch,” he added when both Hunter and I smacked him.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

The Everglades are dying. Nearly half of their 4 million acres have been swallowed up by sprawl and sugarcane. Almost 70 plant and animal species that reside there hover on the brink of extinction. The wading bird populations — egrets and herons and spoonbills and the like — have declined a staggering 90 percent. The saw grass prairies, for which the region is famous, have grown smaller with each passing year, and the once legendary game fish populations aren’t doing much better. Among the few fish that do remain, scientists have detected enough mercury in their fatty tissue to open a thermometer factory.

Moreover, Netflix produces exactly what it knows its customers want based on their past viewing habits, eliminating the waste of all those pilots, and only loses customers when they make a proactive decision to cancel their subscription. The more a person uses Netflix, the better Netflix gets at providing exactly what that person wants. And increasingly, what people want is the original content that is exclusive to Netflix. The legendary screenwriter William Goldman famously wrote of Hollywood, “Nobody knows anything.” To which Reed Hastings replies, “Netflix does.” And all this came about because Hastings had the insight and persistence to wait nearly a decade for Moore’s Law to turn his long-term vision from an impossible pipe dream into one of the most successful media companies in history. Moore’s Law has worked its magic many other times, enabling new technologies ranging from computer animation (Pixar) to online file storage (Dropbox) to smartphones (Apple). Each of those technologies followed the same path from pipe dream to world-conquering reality, all driven by Gordon Moore’s 1965 insight.

tacos.

... Meanwhile the Wizard's men began draining the badlands to get at the ruby deposits. It never worked, of course. They managed to chase the Qadlings out and kill them, round them up in settlement camps for their own protection and starve them. They despoiled the badlands, raked up the rubies, and left. My father went barmy over it. There never were enough rubies to make it worth the effort; we still have canal system to run that legendary water from the Vinkus all the way cross-country to Munchkinland. And the drought, after a few promising reprieves, continues unabated. The Animals are recalled to the lands of their ancestors, a ploy to give the farmers a sense of control over something anyway. It's a systematic marginalizing of populations, Glinda, that's what the Wizard's all about." "We were talking about your childhood," said Glinda. "Well that's it, that's all part of it. You can't divorce your particulars from politics," said Elphaba.

On this world you have the animals and they have as much right to be on this world as us; and it’s man who is the reason they are pushed to extinction. They’re killing them for their tusks and their horns, and these fucking idiots, they think claws will give them sex appeal and they get all fucking sissy on you.

Like Lenny McLean said, and I agree with him totally, he told me it’s these bastards that hurt the old people and fuck up the young kids, they are the animals and they hardly get any prison sentence for it.

In his own words, Richards embraces the notion of "life as a wild animal," and his legendary close shaves have left him with a unique take on existence. Yet somehow, Keith Richards's implacably rock 'n roll worldview has something to offer al of us ...

Africa had free markets and a thriving entrepreneurial culture and tradition centuries before these became the animating ideas of the United States or Western Europe. Timbuktu, the legendary city in northern Mali, was a famous trading post and marketplace as far back as the twelfth century, as vital to the commerce of North and West Africa as ports on the Mediterranean were to Europe and the Levant. In Africa Unchained, George Ayittey offers myriad examples of industrial activity in precolonial Africa, from the indigo-dye cloth trade of fourteenth-century Kano, Nigeria, to the flourishing glass industry of precolonial Benin to the palm oil businesses of southern Nigeria to the Kente cotton trade of the Asante of Ghana in the 1800s: “Profit was never an alien concept to Africa. Throughout its history there have been numerous entrepreneurs. The aim of traders and numerous brokers or middlemen was profit and wealth.”2 The tragedy is what happened next. These skills and traditions were destroyed, damaged, eroded or forced underground, first during centuries of slave wars and colonialism and, later, through decades of corrupt postindependence rule, usually in service to foreign ideologies of socialism or communism. No postcolonial leader in Africa who fought for independence has ever adequately explained why liberation from colonial rule necessarily meant following the ideas and philosophies of Karl Marx, a gray-bearded nineteenth-century German academic who worked out of the British Library and never set foot in Africa. At the same time, neither should we have ever allowed ourselves to become beholden to paternalistic aid organizations that were sending their representatives to build our wells and plant our food for us. Nor, for that matter, should we have relied on the bureaucrats of the Western world telling us how to be proper capitalists or—as is happening now—to Party officials in Beijing telling us what they want in exchange for this or that project. It was this outside influence—starting with colonialism but later from our own terrible and corrupt policies and leaderships—that the stereotype of the lazy, helpless, unimaginative and dependent African developed. The point is that we Africans have to take charge of our own destiny, and to do this we can call on our own unique culture and traditions of innovation, free enterprise and free trade. We are a continent of entrepreneurs.

scientific

appearance.

became really interested in their traditions and the stories they told about the legendary birds…apart from that, we grew to know each other pretty well, it even turned out that one of the villagers, a girl named Melody was actually Maren’s friend. They had met a while back in one of her numerous voyages and when they realized it, they hugged almost like they were long lost friends. She was very nice and in fact even volunteered to show us around and also tell us a bit more about the islands.   She told us that during the annual legend festival

He also created an animated video called How the Economic Machine Works.

To find meaning in our lives we need consistent exposure to kids, elders and animals... cuz kids and animals aren't looking for it, and elders are the closest to finding it.

The tacos.

But for now it’s goodbye to the beaches, and indeed many a celebrated island of yore now lies deep under the waves. An entire world and way of life has disappeared with these fabled places, a lifeway that went right back to the beginning of the species in south and east Africa, where the earliest humans were often intimately involved with the sea. That wet, sandy, tidal, salty, sun-flecked, beautiful beach life: all gone, along with so much else, of course; animals, plants, fish. It’s part of the mass extinction event they are still struggling to end, to escape. So much has been lost that will never come back again, that the loss of the joy of the relatively few humans who were lucky enough to live on the strand, who combed the beaches, and fished, and rode the waves, and lay in the sun – that’s nothing much to grieve for, given everything else that has been lost, all the suffering, all the hunger, all the death, all the extinctions. Most of the mammal species are gone. Still, it was a way of life much beloved, and still remembered in art and song, image and story – still legendary, still a lost golden age, vibrating at some level below thought, there in their salty blood and tears, in the long, curled waves of DNA that still break inside them all.

She didn’t know what to do. Should she run? Climb a tree? Feign death and hope it lost interest and went away? She’d become separated from the others some ways back—stupid, stupid. Would they even hear her, if she called? “Denny?” she ventured. The animal cocked its head, and Cecily cleared her throat to try again. “Portia? Mr. Brooke?” The beast shuffled toward her, great slabs of muscle flexing beneath its hoary coat. “Not you,” she told it, taking a quick step back. “Shoo. Go home.” It bristled and snarled, revealing a narrow row of jagged teeth. Moonlight pooled like liquid around its massive jaw. Good Lord, the thing was drooling. Truly panicked now, she drew a deep breath and called as loud as she could. “Denny! Help!” No answer. Oh, Lord. She was going to be slaughtered, right here in the forest. Miss Cecily Hale, a lady of perfectly good breeding and respectable fortune, not to mention oft-complimented eyes, would die unmarried and childless because she’d wasted her youth pining for a man who didn’t love her. She would perish here in Swinford Woods, alone and heartbroken, having received only two kisses in the entirety of her three-and-twenty years. The second of which she could still taste on her lips, if she pressed them together tightly enough. It tasted bitter. Luke, you unforgivable cad. This is all your fault. If only you hadn’t— A savage grunt snapped her back into the present. Cecily looked on in horror as the vile creature lowered its head, stamped the ground— And began to charge. God, she truly was going to die. Whose brilliant idea had it been, to go hunting a legendary beast in a cursed forest, by the light of a few meager torches and a three-quarters moon? Oh, yes. Hers. Three

A reaper. A title I knew nothing about other than I was someone … something … infamous and legendary. While that may have been true, I still only felt like Blythe Pearl. A twenty-something year old nerd who still slept with stuffed animals.

He didn't move or discourage Archibald from kneading and clawing his right boot when the enormous Maine coon strolled in from the pantry. The animal was like black smoke with gold eyes. A furry mystic with large, tufted paws and ears. Legend and lore surrounded the cat. Some stories were amusing, some mere fantastic flights of fantasy, and others actually plausible.

Death Rain - Legendary Staff Widely considered to be a cursed item for the sheer destruction it brings, Death Rain was created by a twisted Earth Mage with a sliver of the magical gem, [The Rage of the World]. Death Rain is a legendary staff best known for the utter destruction it brings to the earth where it is used. By absorbing and expelling the energy of the earth in ever stronger blasts, it brings death to everyone around it, friend or foe. Once the [Death Rain] ability has been activated, the wielder of the staff cannot move it from its location due to its connection with the earth. The ability will only cease with the death of the wielder. Abilities: [Death Rain] [Animate Stone] Death Rain Draw upon the power of the earth to bring devastation to everything around the staff. When this ability is activated the wielder will lose control of the staff as it begins to gather and release progressively stronger attacks on targets in the area.  While active, the staff cannot be moved. This ability will remain active until the wielder of the staff has died. Animate Stone By shaping the energy of the earth, the wielder of the staff can summon a variety of creatures made from stone. 0/15 Gargoyles Summoned 0/6 Stone Golems Summoned 0/1 Giant Flying Golem Summoned Requires a source of earth.

For a scientist, the only valid question is to decide whether the phenomenon can be studied by itself, or whether it is an instance of a deeper problem. This book attempts to illustrate, and only to illustrate, the latter approach. And my conclusion is that, through the UFO phenomenon, we have the unique opportunities to observe folklore in the making and to gather scientific material at the deepest source of human imagination. We will be the object of much contempt by future students of our civilization if we allow this material to be lost, for "tradition is a meteor which, once it falls, cannot be rekindled." If we decide to avoid extreme speculation, but make certain basic observations from the existing data, five principal facts stand out rather clearly from our analysis so far: Fact 1. There has been among the public, in all countries, since the middle of 1946, an extremely active generation of colorful rumors. They center on a considerable number of observations of unknown machines close to the ground in rural areas, the physical traces left by these machines, and their various effects on humans and animals. Fact 2. When the underlying archetypes are extracted from these rumors, the extraterrestrial myth is seen to coincide to a remarkable degree with the fairy-faith of Celtic countries, the observations of the scholars of past ages, and the widespread belief among all peoples concerning entities whose physical and psychological description place them in the same category as the present-day ufonauts. Fact 3. The entities human witnesses report to have seen, heard, and touched fall into various biological types. Among them are beings of giant stature, men indistinguishable from us, winged creatures, and various types of monsters. Most of the so-called pilots, however, are dwarfs and form two main groups: (1) dark, hairy beings – identical to the gnomes of medieval theory – with small, bright eyes and deep, rugged, "old" voices; and (2) beings – who answer the description of the sylphs of the Middle Ages or the elves of the fairy-faith – with human complexions, oversized heads, and silvery voices. All the beings have been described with and without breathing apparatus. Beings of various categories have been reported together. The overwhelming majority are humanoid. Fact 4. The entities' reported behavior is as consistently absurd as the appearance of their craft is ludicrous. In numerous instances of verbal communications with them, their assertions have been systematically misleading. This is true for all cases on record, from encounters with the Gentry in the British Isles to conversations with airship engineers during the 1897 Midwest flap and discussions with the alleged Martians in Europe, North and South America, and elsewhere. This absurd behavior has had the effect of keeping professional scientists away from the area where that activity was taking place. It has also served to give the saucer myth its religious and mystical overtones. Fact 5. The mechanism of the apparitions, in legendary, historical, and modern times, is standard and follows the model of religious miracles. Several cases, which bear the official stamp of the Catholic Church (such as those in Fatima and Guadalupe), are in fact – if one applies the deffinitions strictly – nothing more than UFO phenomena where the entity has delivered a message having to do with religious beliefs rather than with space or engineering.

The unsolved mysteries of the South Seas had fascinated me . . . and I had made my objective the identification of the legendary hero Tiki.” According to the ethnologist Edward Handy, Tiki was one of many gods in the Marquesan pantheon. He was a trickster figure who was also known as the first ancestor of men, whom he created through his union with a heap of sand. The word tiki was also used generically in the Marquesas, as it is in other parts of Polynesia, to mean figures carved in human or animal form that depict deified ancestors or family gods.

The hunter’s virtue lies in respecting the soul of the animals killed, in treating their remains in a prescribed manner and in particular, in making use of as much of the carcass as possible. These observances constitute religious obedience. The animals slain under the proper conditions and treated with the consideration due them return to life again and again. They furthermore indicate their whereabouts to the ‘good’ hunter in dreams resigning themselves to his weapons in a free spirit of self-sacrifice.

The legendary wheat-field triumphs came from financial incentives, irrigation, and the return of the rains, and they came at the expense of more important food crops. Long-term growth trends in food production and food production per capita did not change, [and] the Green Revolution years, when separated out, actually marked a slowdown.

One legendary animal that seems ambiguous, hovering as it does in between the real that you can touch and the humanly unattainable, is the pronghorn antelope of the American plains. It has been clocked running at 61 miles per hour—almost twice as fast as a racehorse—and not just in a short sprint. It can reputedly cover 7 miles in 10 minutes. The Hopi tribe believed the antelope to be a spirit messenger and a powerful medicine. In a recent issue of the international journal Nature, the pronghorn was declared the world’s premier ultrarunning animal, the best distance runner that muscle and bone and blood could produce.

He reached out. Eming’s eye instantly widened, like it was looking at him with great anticipation. I can’t pet here, poking the eye will hurt, Xie Lian thought, then lowered his hand and stroked along the curve of the hilt. The eye squinted into a full crescent line and quivered even harder, as if it was extremely pleased and enjoying the touch very much. The more Xie Lian stroked the scimitar, the more intriguing he found it. He was the type of person animals liked; when he’d pet dogs and cats, they’d squint their eyes like this when they got comfortable and would often throw themselves into his embrace, whining and mewling. Who knew that he’d be stroking a cold, silver scimitar—that legendary cursed blade, no less—like he would a puppy! In what way was this a “bloody, cursed blade of misfortune”? Xie Lian hadn’t believed it before, but after seeing this with his own eyes, he threw away all that awful hearsay entirely, tossing it into the trash pile labeled “not believable.” An evil, bloody ritual wouldn’t forge a spirit this clever and cute.

When it comes to iconic mobile games, few titles are as instantly recognizable as Doodle Jump. First released in 2009, this seemingly simple vertical platformer quickly became a global sensation. Over a decade later, it still holds a special place on millions of smartphones—and for good reason. At its core, Doodle Jump is about guiding a small, green alien-like creature (the Doodler) as it jumps from platform to platform, climbing endlessly into the sky. The concept is straightforward, but the execution is what made the game legendary. Its addictive gameplay, hand-drawn aesthetic, and quick restarts created the perfect loop: play, fall, repeat. Unlike many modern games with steep learning curves, Doodle Jump is instantly accessible. You tilt your device to move left or right and the Doodler jumps automatically. What starts off easy soon becomes a test of reflexes and concentration. As you ascend, moving platforms, disappearing platforms, monsters, black holes, and UFOs appear to make things interesting—and increasingly challenging. One of the key reasons Doodle Jump remains relevant today is its timeless design. The visuals are charming, with a notebook-style background and cartoonish animations that feel playful and familiar. The simplicity is part of its charm—it doesn't try to overwhelm players with flashy effects or unnecessary complexity. In terms of gameplay, the mechanics are tight and responsive. The Doodler reacts quickly to your inputs, and each mistake feels like something you can learn from and improve upon. That’s part of the reason people often come back for “just one more try”—it always feels like you’re only seconds away from beating your high score. Over the years, Doodle Jump has evolved. New themes, characters, and power-ups have been added to keep things fresh. From jungle environments to space adventures, the game has managed to expand while staying true to its original identity. These updates have helped it appeal to both longtime fans and new players discovering it for the first time. Doodle Jump is available on both Android and iOS, and despite the flood of mobile games released every year, it still holds up as one of the best pick-up-and-play experiences on the market. Whether you have five minutes to spare or an hour to kill, it’s the perfect game to reach for. In a mobile gaming world that often prioritizes complexity and monetization, Doodle Jump is a reminder that simplicity, when done well, can be powerful—and endlessly fun.

​Farmer Iggy watched—in absolute horror—as she began to cough up blood and phlegm. Her mouth became caked with vile-smelling fluid. Her stomach bulged, convulged, quivered, and then expanded—she hadn't even been pregnant moments earlier, but suddenly it looked as though she were filled to bursting with a brood of offspring! The whole affair, the whole mess of it, however... it wasn't in any way wonderful or miraculous. It was wrong, somehow terrible, and Farmer Iggy found himself backing away from the convulsing animal—“Oh, oh no, oh Mama, w-what... what did I do to you? Mama?!” ​The scream that emerged from Mama Rabbit's mouth as she fell over onto her side was that of a fully-grown human woman. A chill froze the farmer's spine, and then he turned around and fled into his house, leaving his beloved prize rabbit to cough, convulse, and die, in the dust and the grass of the rabbit hutch. He knew—he knew she was gone; how could she not be, with what he had seen? But, had he had the courage to remain outside and be with Mama Rabbit in her final moments, he would have witnessed the impossible—a bittersweet miracle. For, as Mama Rabbit breathed her final breaths, she actually did give birth to—not one—but two little baby rabbit kittens. ​The first one was big and white, with odd black markings about its face and hindquarters. It looked in every respect like a healthy young rabbit kit, conceived in the usual way, and born after the appropriate term—neither of which, of course, it had been. However, had it resulted from any other circumstances, and had Farmer Iggy been there to see it, he might have regarded it as a fine prize: an obviously exceptional young rabbit, even by the standards he'd come to have set for Mama Rabbit's kits. ​The second rabbit was small, a runt. It was pure white, without a marking on it, and it looked soft, beautiful, and gentle—until it opened its eyes.