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Refang is a man of around 20 years of age, in which he regularly wields his famed heavenly sword which he uses with great powers.
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Refang and is
As seen within the anime, it is also known that Nata always trains together with the powerful warrior Refang, which may be a reason for Nata's exceeding strength.
Lao Tzu does this by ordering the powerful Refang to lure Kongo into his factory-who is then eventually trapped in a large area with heat seeping through the bottom area.
Refang is first shown within the anime when he had been bowing before the Jade Emperor, his supposed cousin ( such info is only justified through the novel however ).
Throughout the beginning of the series, Refang is not shown to a large extent which is because he seems to occasionally train with Prince Nata.
This area is run by the renowned Jade Emperor and his high-ranking officials such as Dupac, Refang, Fujin, and Nata.
Refang and which
Refang and heavenly
: During their bout however, Kongo continuously scurries in fear, while Refang himself almost purposely in perception destroys many of the heavenly pillars holding up the roof of the area they had been within.
Refang and sword
Later in the series, Refang elaborates on this ability to a high extent by changing his sword into various weapons such as an axe.
Refang and with
After Kongo sees that Refang can manipulate his weapon at will, Kongo himself fights back with many weapons-thanks to Wowser.
Refang and .
After the Peach Pandemonium later on, Wowser plays a central role in continuously throwing various weapons to the weaponless Kongo when he had been battling against the enraged Refang.
Refang also chooses to stay at heaven throughout many times due to being a heavy enforcer of heaven's politics.
However, Refang truly first shows his colors when he had stood before Kongo, who wished to attend the Peach Party.
However, after Kongo later destroys many tables in his rage about hearing the true nature of his position, Refang takes physical action to quell the monkey he had already held hatred towards-Kongo.
After Lao Tzu tells Refang to cease for a moment, Kongo turns into a bird to flee from Refang's sight.
Refang this transforms himself into a larger bird, and continues to overpower Kongo in his transformations.
Thus Refang rejoices in his triumph, until Kongo emerges alives, angry and wielding the unbeatable power rod.
is and man
But there's one thing I never seen or heard of, one thing I just don't think there is, and that's a sportin' way o' killin' a man ''!!
I clapped the big man with the bleached hair on his shoulder and said heartily, hoping it would make an impression on the women: `` This one is the maku Frayne.
He thought of the jungles below him, and of the wild, strange, untracked beauty there and he promised himself that someday he would return, on foot perhaps, to hunt in this last corner of the world where man is sometimes himself the hunted, and animals the lords.
However, the system is designed, ingeniously and hopefully, so that no one man could initiate a thermonuclear war.
`` I have just come from viewing a man who had made the fortune of his country, but now is working all night in order to support his family '', he reflected.
A new South is emerging after the post-bellum years of hesitation, uncertainty, and lack of action from the Negro in defining his new role in the amorphously defined socio-political organizations of the white man.
To my knowledge, Lincoln remains the only Head of State and Commander-in-Chief who, while fighting a fearful war whose issue was in doubt, proved man enough to say this publicly -- to give his foe the benefit of the fact that in all human truth there is some error, and in all our error, some truth.
So great a man could not but understand, too, that the thing that moves men to sacrifice their lives is not the error of their thought, which their opponents see and attack, but the truth which the latter do not see -- any more than they see the error which mars the truth they themselves defend.
I knew that a conversation with the author would not settle such questions, because a man is not the same as his writing: in the last analysis, the questions had to be settled by the work itself.
If love reflects the nature of man, as Ortega Y Gasset believes, if the person in love betrays decisively what he is by his behavior in love, then the writers of the beat generation are creating a new literary genre.
All such imitations of negative quality have given rise to a compensatory response in the form of a heroic and highly individualistic humanism: if man can neither know nor love reality as it is, he can at least invent an artistic `` reality '' which is its own world and which can speak to man of purely personal and subjective qualities capable of being known and worthy of being loved.
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