Uru or URU may refer to:
Uru: Ages Beyond Myst is an adventure video game developed by Cyan Worlds and published by Ubisoft. Released in 2003, the title is the fourth game in the Myst canon. Departing from previous games of the franchise, Uru takes place in the modern era and allows players to customize their onscreen avatars. Players use their avatars to explore the abandoned city of an ancient race known as the D'ni, uncover story clues and solve puzzles.
Cyan began developing Uru shortly after completing Riven in 1997, leaving future Myst sequels to be produced by third-party developers. Uru required five years and $12 million to complete. Uru was initially conceived as a multiplayer game; the single-player portion was released, but the multiplayer component, Uru Live, was delayed and eventually canceled. The online video game service GameTap released the multiplayer portion of Uru as Myst Online: Uru Live in February 2007, but the service was canceled again the following year due to a lack of subscribers. GameTap passed the rights to Uru Live back to Cyan, who re-launched the game for free in 2010.
The Uru is a submachine gun made by the production firm Mekanika in 1977 for the Brazilian Army and Police Forces. License for weapons in 1988, bought the branch of FAU, which modernized the tommy-gun in model 2. SACO Defense of the US manufactured the Uru as the Model 683 for countries without an industrial basis but were sued for copyright violations.
The overall weapon has a cylindrical body. It made the front of the air vents for cooling trunk. A tubular casing in a shop, serving also as the front handle, trigger and pistol grip. There is also a safety/selector switch, which can be translated into two points: first - for self-shooting, second - for the automatic. The barrel may be fitted with a silencer. There are several versions of weapons: pistol-machine gun under the bullet and the 38 ACP rifle with a wooden butt th of 9 mm bullets parabellum and the 38 ACP.
The Uru, or "Fat Boat", is a generic name for large Dhow-type wooden ships made by vishwabrahmins in Beypore, a village south of Kozhikode, Kerala, in the southwestern coast of India.
This type of boat has been used by the Arabs since ancient times as trading vessels, and even now, urus are being manufactured and exported to Arab nations from Beypore. These boats used to be built of several types of wood, the main one being teak. The teak was taken from Nilambur forests in earlier times, but now imported Malaysian teak is used. A couple of boat-building yards can still be found near the Beypore port.
Mjolnir (/ˈmoʊlnⁱər/ MŌL-n(ee)r) is a fictional weapon appearing in American comic books published by Marvel Comics. It is depicted as the favored weapon of the superhero Thor. Mjolnir, which first appears in Journey into Mystery #83 (August 1962), was created by writer Stan Lee and designed by artists Jack Kirby and Joe Sinnott.
Mjolnir was typically depicted as a large, square-headed gray lump hammer. It has a short, round handle wrapped in brown leather, culminating in a looped lanyard. The object is based on Mjölnir, the weapon of the mythical Norse god. The hammer's name translates as "The Crusher" or "The Grinder."
Mjolnir debuted in Journey into Mystery #83 (Aug. 1962), and was immediately established as the main weapon of the Thunder god Thor. The weapon's origin is revealed in Thor Annual #11 (1983), although another version is presented in Thor vol. 2, #80 (Aug. 2004).
Other significant moments in Marvel continuity include the altering of Mjolnir's enchantments in Thor #282 (April 1979) and Thor #340 (Feb. 1984); the temporary possession of Mjolnir by a member of the Enchanters Three in Thor vol. 3, #14–15 (Aug.–Sep. 1999); and when the hammer has been damaged, occurring in Journey Into Mystery #119 (Aug. 1965); Avengers #215 (Jan. 1982); Thor #388 (Feb. 1988);Thor vol. 2, #11 (May 1999); Thor vol. 2, #80 (Aug. 2004) and Thor vol. 3, #600 (Feb. 2009).
The following are fictional characters from Disney's The Lion King franchise.
A total of thirteen supervising animators from Walt Disney Animation Studios and Disney-MGM Studios were responsible for establishing the personalities and setting the tone for the first film's main characters. The animation team studied real-life animals for reference, as was done for the earlier film Bambi. The animation of the characters counted with supervision by wildlife experts such as Jim Fowler, who visited the studio on several occasions with lions and other animals to help the animators reproduce authentic behavior. Screenwriter Irene Mecchi joined the directing team to help in the character development process and define each character's personality. Story head Brenda Chapman spoke of the challenges of character development: "It was our job to make the main character likeable and sympathetic. It was also challenging to make the environment and characters interesting. In real life, lions basically sleep, eat and have no props."
Dear John, I'm sorry I can't do this anymore
You're not the man I fell in love with
And I have to move on with my life, goodbye
Goodbye, goodbye, goodbye cool
You were the one who'd never leave
Beautiful eyes, you seemed so free
Touching your face I felt complete
Holding your hand my heart would weep
So everything that came out of your mouth was full of lies
You looked me right dead in the eyes
You'd call your girlfriends and tell them that I abused your trust
You did your best to demonize
You were the one who'd never leave
Beautiful eyes, you seemed so free
Touching your face I felt complete
Holding your hand my heart would weep
You were the one who raped my soul
Beautiful lies, you stole my hope
Touching your ass, I scratch the skin
Holding your neck, I tie the rope
(Pulling it tight)
You were the one who'd never leave
Beautiful eyes, you seemed so free
Touching your face I felt complete
Holding your hand my heart would weep
You were the one, the one for me
Now that you're gone it's hard to see
So much of me has gone away
There's no need to stay another day
But someone's got to pay
But someone's got to pay
But someone's got to pay
But someone's got to pay
But someone's got to pay
But someone's got to pay
But someone's got to pay