
‘Large'-eyed creature with ‘slender' toes found lurking. It's a new species
World 'Large'-eyed creature with 'slender' toes found lurking. It's a new species
Scientists found a 'large'-eyed creature with 'slender' toes lurking in rock formations in China and discovered a new species, a study said.
Photo from Han-Ming Song via Song, Qi, Wang, Gong, Liu and Wang (2025)
A nighttime storm rolled across southern China, dumping rain on some rock formations and drawing a 'long'-legged creature out of its hiding place. A beam of light cut through the dark and it tried to jump away.
Visiting scientists caught the 'large'-eyed animal — and discovered a new species.
Researchers hiked into the rocky karst forests of Guangdong province in May 2024 to survey wildlife. The area sat within 'one of the largest and most biodiverse' karst landscapes, but its diversity had gone 'significantly underestimated,' according to a study published May 7 in the peer-reviewed journal Zoosystematics and Evolution.
During some of the rainy night hikes, researchers found several unfamiliar-looking frogs and, after taking a closer look, realized they'd discovered a new species: Odorrana calciphila, or the limestone odorous frog.
A male (top) and female (bottom) Odorrana calciphila, or limestone odorous frog.
Photos from Han-Ming Song via Song, Qi, Wang, Gong, Liu and Wang (2025)
Limestone odorous frogs are considered 'small,' reaching less than 2 inches in length, the study said. Their 'flat' heads have 'large,' black eyes with 'golden speckles' and 'obtuse' snouts. Their skin is 'relatively smooth' with some 'tiny flat' bumps, forming a 'worm-like texture.' They have 'long' legs with 'slender' toes.
Photos show the varied coloring of the new species. The frogs are generally brown 'with a scattering of irregular moss-like green speckles,' researchers said. Seen from below, they have pinkish bellies and 'pinkish-purple' thighs.
The underside of an Odorrana calciphila, or limestone odorous frog.
Photo from Han-Ming Song via Song, Qi, Wang, Gong, Liu and Wang (2025)
One limestone odorous frog had some 'abnormal' bumps on its stomach, likely 'caused by disease such as the parasitic infection,' the study said and a photo shows.
The new species 'only appeared on the completely dark and heavily rainy nights and rapidly jumped away as soon as they were exposed to flashlights,' researchers said. 'This behaviour may imply that this species is accustomed to the moist and low-light environment,' such as underground caves.
Several Odorrana calciphila, or limestone odorous frogs.
Photos from Han-Ming Song and Yong-Heng Zhu via Song, Qi, Wang, Gong, Liu and Wang (2025)
Limestone odorous frogs were found in 'damp limestone formations' within the forest at elevations of about 1,000 feet, the study said.
Researchers said they named the new species 'calciphila' after the Latin words for 'karstic' and 'beloved' because of its 'characteristic of inhabiting the karst landscapes.'
So far, limestone odorous frogs have only been found in two sites in neighboring counties of Guangdong Province, a region of southern China.
The new species was identified by its finger size and shape, body size, coloring and other subtle physical features, the study said. A DNA analysis found the new species had at least about 4% genetic divergence from related frog species.
The research team included Han-Ming Song, Shuo Qi, Hao-Tian Wang, Yue-Ning Gong, Yang Liu and Ying-Yong Wang.
Aspen Pflughoeft
McClatchy DC Go to X Email this person
Aspen Pflughoeft covers real-time news for McClatchy. She is a graduate of Minerva University where she studied communications, history, and international politics. Previously, she reported for Deseret News.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
a day ago
- Yahoo
The British military base preparing for war in space
In a fake village in Buckinghamshire, several members of Space Command are huddled around a computer screen watching a foreign missile approach a Ministry of Defence communications satellite. It is just an exercise, but it is a scenario that is increasingly worrying military chiefs, who fear space is now the most important theatre of war. With satellites controlling everything from EasyJet flight plans, to Amazon deliveries, to army advances, targeting them would cripple society. Russia took down Ukraine's satellite communications hours before it began its full-scale land invasion in 2022. China and Russia have both tested anti-satellite missiles, while Moscow is allegedly developing a programme to arm some of its satellites with nuclear warheads, meaning it could destroy enemy networks while in orbit. In recognition of this new orbital battlefield, Space Command was established at RAF High Wycombe in 2021, to 'protect and defend' UK interests in space. It is now home to the UK Space Operations Centre, opened officially by government ministers this week. The RAF base is the former headquarters of Bomber Command, a military unit responsible for strategic bombing during the Second World War. With its winding streets, faux church towers and manor house office blocks, it was designed to look like a quintessential Home Counties village, should the Luftwaffe be passing over. The Bomber Command motto 'Strike Hard, Strike Sure' has been replaced with Space Command's 'Ad Stellas Usque' – Latin for 'up to the stars'. While Bomber Harris's team had its eyes fixed firmly on the ground, Space Command's are turned skywards. Maria Eagle, minister for defence procurement, who helped open the operations centre this week, said: 'From a national security point of view, space is a contested and congested and competitive domain, and we need to make sure, as our adversaries advance their capabilities, that we're able to deal with what that throws up.' She added: 'It's an extension of the more earthbound worries that we've got. The usual kind of things that you worry about on Earth, it's just extended upwards, because that's now a domain that is as important as land, sea or air to the potential of war-fighting or defending national security. 'The National Space Operations Centre does vital work in monitoring and protecting our interests. It's a recognition of the fact that our adversaries are active there, and we need to know what's going on.' Although the United States performed the first anti-satellite tests in 1959, space warfare has largely been consigned to Hollywood and science fiction until recently. Fears began to ramp up in January 2007, when China shot down one of its own ageing weather satellites with a ballistic missile creating a cloud of space junk, which is still causing problems. In November 2021, Russia conducted its own direct-ascent anti-satellite test, destroying the Soviet intelligence satellite Kosmos-1408, and generating a debris field that forced astronauts on the International Space Station to take shelter. However it is not just anti-satellite missiles that are causing concern. According to the latest Space Threat Assessment, from the Centre for Strategic and International Studies (CSIS) in Washington, nations are developing evermore elaborate space weapons. These weapons include electro-magnetic pulses, microwaves and lasers to fry electronics, dazzlers to blind optical sensors, and grapplers to latch on to satellites and pull them out of orbit. China, Russia, Iran and North Korea all have the capability of jamming and hijacking satellite signals and launching cyber attacks. A 10-second delay in Google Chrome loading may seem like a domestic internet glitch, but bad actors could also be behind it, Space Command has warned. Space Command is particularly worried about China, which in the past year has launched increasingly advanced and highly-manoeuvrable satellites for purposes that remain unclear. CSIS believes Beijing may be creating a 'formidable on-orbit counter-space arsenal' and that manoeuvrability testing is allowing Chinese operators to develop 'tactics and procedures that can be used for space war-fighting'. US Space force commanders have also warned that Chinese satellites have been spotted 'dogfighting' in space, moving within less than a mile of each other. 'China continues to develop and field a broad set of counter-space capabilities,' a member of Space Command told The Telegraph. 'It's certainly one of the more capable adversaries. Space is no longer a sanctuary, it's a space of contest. It's the modern battlefield.' Russia's Luch satellites have also been spotted stalking European communications and broadcast satellites, moving close to their orbits for reasons not fully understood. Space Command fears they are probing the systems to find out how best to disrupt signals. Although Russia continues to deny it is developing an orbital nuclear anti-satellite weapon – which would breach the 1967 Outer Space Treaty – US intelligence suggests otherwise. Chris Bryant, minister of state for data protection and telecoms, said: 'There's a lot of stuff up there now … and the risks from deliberate bad actors, in particular from Russia and China, and the havoc that could be created either deliberately or accidentally, is quite significant. 'So we need to monitor as closely as we possibly can, 24/7, everything that is going on up there so that we can avert accidental damage, and we can also potentially deter other more deliberate, harmful activity.' Space Command currently employs more than 600 staff, roughly 70 per cent of whom are from the Royal Air Force with the remaining 30 per cent from the Army and Navy, plus a handful of civilians. Not only is it monitoring the sky for threats from foreign powers but it is also keeping an eye out for falling space debris, asteroids, and coronal mass ejections from the Sun which could wipe out power grids and satellites. When a threat is spotted, the team can contact satellite providers to warn them to reposition their spacecraft, or advise them to power down until a powerful jet of plasma has passed through. It also informs the government and the security services on the orbital movements of foreign powers. Space Command also launched its first military satellite last year, named Tyche, which can capture daytime images and videos of the Earth's surface for surveillance, intelligence gathering and military operations. It is part of the Government's £968 million Istari programme which will see more satellites launched by 2031 to create a surveillance constellation. Mr Bryant added: 'Lots of people think 'space' and joke about Star Trek and the final frontier, but actually the truth is you couldn't spend a single day of your life these days in the UK without some kind of engagement with space. 'The havoc that could be created, which might be military havoc, or it might be entirely civil havoc, could be very significant.' Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Yahoo
3 days ago
- Yahoo
‘Lost in Starlight' Director Han Ji-won on Blending Romance and Sci-Fi for Netflix's Breakthrough Korean Animated Feature
Lost in Starlight marks a defining moment for 36-year-old filmmaker Han Ji-won — and a rare breakthrough for Korean animation on the world stage. A vividly realized sci-fi romance set in Seoul in the year 2050, the film is Netflix's first original animation produced in South Korea, and it has won praise from none less than the country's most decorated director. In statements accompanying the film's global release on May 30, multi-Oscar winner Bong Joon Ho hailed the feature as 'a visual masterpiece that takes you around the universe,' highlighting Han as a new talent to watch while signaling a long-awaited coming-of-age moment for the country's animation sector. More from The Hollywood Reporter Netflix Hires Ollie Madden, Director of Film4 and Channel 4 Drama, to Oversee U.K. Film Ben McKenzie on His Crypto Doc 'Everyone Is Lying to You for Money': A "Human Story About Trust" "NATO for News": Is a Joint Effort by Media Companies the Way to Go in the Age of AI? South Korea has long been known as an animation powerhouse, but mostly for behind-the-scenes work. For decades, local studios quietly toiled as production subcontractors on Japanese anime and Hollywood features — cranking out clean-up, in-betweening, and digital compositing for global franchises — while Korean-made animation rarely reached an international audience under its own banner. Lost in Starlight's success hints at the outlines of a coming animated chapter in the ever-breaking Korean cultural wave. A genre-fluid imagining of Seoul in the not-so-distant future, Lost in Starlight follows two young dreamers separated by 140 million miles. Nan-young (voiced in Korean by actress Kim Tae-ri), a space-bound astro-botanist, departs on a mission to terraform Mars, leaving her quiet, music-obsessed boyfriend Jay (voiced by Hong Kyung) behind on Earth. The film unfolds as a lyrical meditation on long-distance love, personal ambition, and the delicate emotional gravity that holds people together. Visually, it is suffused by luminous, hologram-filled cityscapes, soft water colors and interstellar dreamscapes — a highly accomplished style that blends some of the grounded warmth of Studio Ghibli's hand-drawn character design work with the cosmopolitan shimmer of a Makoto Shinkai sunset. Shortly after Lost in Starlight's debut, The Hollywood Reporter connected with Han to discuss her journey of bringing Lost in Starlight to screen, her animation influences, what Bong's praise has meant to her and the unbridled potential of Korean animation. How did begin? What was the original inspiration behind the project? Some years ago, I worked on a branded film — Beautiful Moments, for the Korean jewelry company StoneHenge — and for that project I was given a lot of creative freedom. I was able to explore ideas I'd had been interested in for a long time — things like the female dream, astronauts, family stories, childhood, space, and music. That film incorporated all of those elements, and it ended up getting a lot of attention. Based on that, Climax Studio contacted me, and I had the chance to expand on those themes. At the time, I was dating, so I was very interested in love, and I wanted to incorporate that into my storytelling. Luckily, the production company was interested in letting me explore all of these things, and that's how the story began to take shape. is set in a futuristic version of Seoul, and there are so many imaginative visual details throughout the film's world. How did you approach depicting Seoul in 2050? It felt to me like a clean, fresh version of That's actually a quite accurate way to describe it — a clean version of Blade Runner. I set it against a realistic backdrop as well. In Korea, there's an area of Seoul called Eulji-ro, which is popular right now with both tourists and artists. It has this very cyberpunk, retro-industrial vibe. It used to be full of manufacturing workshops, metal shops, garages — very gritty — but now a lot of indie artists do performances and collaborative projects there. Jay, in the animation, works around there. And there's also Sewoon Arcade, where his record shop is based — that's a real location in Seoul too. So I started with those realistic backdrops and added imagination to create this future landscape. You mentioned the 'cleanliness'— that really resonates with what I wanted to express. I didn't want to depict a dark or apocalyptic future. I imagined a future where we've done our best to protect the environment and things turned out okay. I wanted the setting to feel like a place that's good to live in. So blending that retro charm with futuristic optimism, rooted in real locations, was very intentional. I also appreciated the way female empowerment is expressed in the film. The two lead characters each go on parallel journeys of self-overcoming, but there's such a striking contrast: Nan-young goes all the way to Mars to uncover the mystery of her mother's disappearance, braving storms and mortal danger. Jay, meanwhile, is mostly just shy, trying to work up the courage to sing in public. That's a fair point, but I don't necessarily think Nan-young's achievement is bigger than Jay's. Visually, of course, Nan-young's journey seems more dramatic—going to Mars and confronting her inner trauma—but I believe that revealing your voice in front of a large audience is also an act that requires great bravery. As a female creator, I did want to show how women overcome barriers and achieve things, but I think the contrast you noticed might just have more to do with their professions — astronaut versus musician — rather than a hierarchy of bravery. What I really wanted to show is that growth can come from epic journeys, but also from the small, intimate challenges. Korea has a long history of doing skilled contract work for international studios, but relatively few original Korean animated features have broken through globally. Could you describe the Korean animation scene right now? Should viewers expect more exciting original work to come? As you said, Korean studios have long taken on outsourced work from the U.S. and Japan, mostly in the production stage, rather than pre-production. But in recent years, more companies are building dedicated teams to work on design and story development. There's a real push now to create original IP. Some companies are even forming in-house story and webtoon teams. Globally, most animated works are based on existing webtoons, comics, or games, rather than original IP. So a film like ours — based on an original story — is still relatively rare. But there are some recent examples, like The Exorcism Chronicles (2024) and King of Kings (2025). These are good signs for both studios and creators. My own background is in independent animation, and I believe Korea is quite strong in that area. So the potential for synergy in this moment between indie animators and Korean studios is really exciting. But animation takes time, and long-term support is essential — so that's something we still need more of before the scene can really take off. Do you think Korean animation has any specific qualities — visual or thematic — that noticeably set it apart from Japanese anime and the U.S. studio animation that viewers around the world know so well? It's hard to generalize, because it's been a long time since Korean feature animation was active in a big way, and even the works that exist are quite diverse in style. My film is 2D, whereas most commercial work recently has leaned toward 3D. So even within Korea, there's a visual gap depending on the technique. But I didn't want Lost in Starlight to look like Japanese anime. I wanted it to reflect how young Korean people today look, dress, and do makeup. That Korean-ness was important to me. At the same time, I incorporated some Western-style drawing elements. It's a blend. Rather than speaking for all of Korean animation, I just hope this work can offer a new kind of reference point for global audiences to understand what Korean animation can be. During the long, five-year process of making this film, what were some of the biggest moments of doubt for you? This film is quite unique. It blends sci-fi with grounded emotion, and it's not confined to a single genre. That meant we had to maintain a very delicate balance — across story, music, visuals, production, everything. We worked with both in-house and external teams, and the outside partner had their own production pipeline, which we had to adjust to fit our vision. That required extensive communication. Sometimes we'd ask ourselves, 'Do we really have to go this far?' But in the end, we're proud we did, because that attention to detail is what made the final product satisfying. Acheiving that delicate genre balance was the hardest part — but also what made it special. There was something subtly fresh in the character design for me — perhaps that came from seeing Korean fashion and contemporary culture in this medium for the first time, as you mentioned. The color palette and the handling of light and landscapes also reminded me a lot of Makoto Shinkai. Where do you identify your influences? Like most animators, I've been influenced by the works I loved growing up—and Makoto Shinkai is definitely in there. But when it comes to character expression and storytelling, I've also drawn from others — like Hayao Miyazaki, who really inspired me to pursue animation in the first place. I was also deeply influenced by Isao Takahata's Only Yesterday, which focuses on very realistic, fully dimensional characters. Satoshi Kon also had a strong impact on me, especially with his realistic visual style. For Lost in Starlight, I worked with a character designer. I shared my artistic preferences and early drafts, and his style aligned closely with mine. That collaboration really helped create the unique, realistic look we achieved. Netflix has shared a quote from Bong Joon Ho calling your film 'a visual masterpiece that takes you around the universe.' How did that come about? Our production company showed him the film and asked for his thoughts. Of course, director Bong is someone I respect enormously, so it was a huge honor to receive that praise from him. I heard that he also remarked on how well the film captured the feeling of contemporary life in a futuristic setting, and he appreciated the drawing style. I was very humbled and honored to hear that. It's been that Bong is actually at work on a feature animation himself — an adult animation titled , which will be his next film. Given how the Korean Wave has impacted so many areas of global culture — pop music, fashion, cinema, TV drama — do you think animation could be the next frontier? Someone of Bong's statures jumping into the arena could give the Korean animation industry a big boost, no? Absolutely. It's been a long-standing dream for many of us in animation for Korean works to go global. For years we said the industry was struggling and that our breakthrough would probably be a long ways off — but then webtoons became globally successful, proving our creative capacity. If someone like Bong Joon Ho gets involved in animation, of course that would give us a huge boost. That said, 2D and 3D animations operate under different business models — the investment and marketing strategies totally differ — so we can't treat them exactly the same. But I believe we're ready to show the world that Korean animation has a rich tradition, high standards, and strong creative voices. If we're given time and support, I truly believe we can build another K-wave — this time in animation. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Yahoo
3 days ago
- Yahoo
ispace's Resilience spacecraft lands on the moon this week: Here's how to see the landing zone on the lunar surface
When you buy through links on our articles, Future and its syndication partners may earn a commission. ISpace's private Resilience Lander will attempt to touch down on the Mare Frigoris region of the moon's surface on June 5, at 3:17 p.m. EDT (1817 GMT). While you won't be able to see the lander itself from Earth, you can spot its landing zone on the lunar surface — here's how. Mare Frigoris —Latin for the "Sea of Cold" — formed billions of years ago when lava flooded a colossal network of impact basins left behind by brutal asteroid strikes. These vast reservoirs of lava swiftly cooled to form dark scars on the lunar surface that we see today. The Sea of Cold occupies an 18,000 square kilometer (6,950 square mile) swathe of the surface close to the moon's north polar region, though its average depth of just 124 miles (200 km) can make it tricky to pick out with the naked eye. The Japanese-built Resilience lander is aiming to touch down 60.5 degrees north the the lunar equator, with a longitude of 4.6 degrees west, placing it close to Mare Frigoris center, according to the spacecraft's creator ispace. Resilience is far too small to be seen from Earth, but its approximate landing site on the lunar surface is easily identifiable, if you know where to look. In the nights surrounding June 5, look toward the southeastern sky — the moon will become more visible after sunset. A pair of 10x50 binoculars will help you find the slender form of Mare Frigoris darkening the northern region of the moon's surface, but a telescope with an aperture of 6 inches or more will help resolve smaller details and allow you to zero in on Resilience's landing site. A good way to find the Resilience Lander's forever home is to locate the Aristotles Crater, which sits above Mare Serenitatis on the southeastern shore of Mare Frigoris. From there, look to the northwest to find the Archytas Crater scarring the southern shore of Mare Frigoris and beyond that the similarly-sized Timaeus crater. The Resilience Lander will set down in the area below Timaeus, to the left of Archytas, fairly close to the line dividing the dayside and nightside of the lunar surface, known as the terminator. The Resilience Lander is due to touch down on Thursday, June 5, at 3:17 p.m. EDT (1817 GMT), though the exact timing is subject to change based on operational conditions. A live stream of the event will be available here on courtesy of ispace. from 2:10 p.m. EDT on June 5 (1810 GMT/3:10 a.m. JST on June 6), with both English and Japanese language versions available. This will be the ispace's second try at landing a spacecraft on the moon, following the unsuccessful landing attempt of the Japanese company's Hakuto-R spacecraft in April 2023. The company has also selected three backup landing sites further to the west in Mare Frigoris, should conditions make the primary touch down site untenable.