#hybrid locomotive

[identifyingtrainsinposts]

I knew this blog had to exist! I'm so glad I found it :)

Anyway, this should be an easy one

Talgo / Bombardier - 250 Dual

[fisheito]

@simplybirdwatching !!!!!!!!! let us pat his smoov skull. . TOGETHer. 🥰🥰🥰🥰🥰🥰🥰🖐🧼🔮🧼🖐🥰🥰🥰🥰🥰🥰🥰

[electronalytics]

DC Traction Generators Market Analysis, Key Players, Share Demand and Outlook by 2017 to 2032

Overview: The DC Traction Generators Market refers to the market for generators specifically designed for direct current (DC) traction systems used in transportation applications. DC traction generators are responsible for generating electrical power to propel various vehicles, including electric trains, trams, and other mass transit systems.

Trends:

Electrification of Transportation: The global trend towards the electrification of transportation is driving the demand for DC traction generators. As countries and regions strive to reduce carbon emissions and shift towards cleaner modes of transport, the demand for electric propulsion systems and corresponding DC traction generators is increasing.

Lightweight and Compact Designs: There is a growing emphasis on developing lightweight and compact DC traction generators. These generators aim to reduce weight and size, enabling better integration into vehicles and improving overall system efficiency. Advanced materials, innovative designs, and optimized electromagnetic systems are being employed to achieve these goals.

Efficiency and Energy Savings: Increasing focus on energy efficiency and sustainability is driving the demand for DC traction generators with higher efficiency ratings. These generators help minimize energy losses, optimize power conversion, and contribute to overall energy savings in transportation systems.

Demand: The demand for DC traction generators is driven by several factors:

Electrification Initiatives: Government initiatives and regulations promoting the electrification of transportation systems are a key driver of the DC traction generator market. Supportive policies, incentives, and funding programs aimed at reducing greenhouse gas emissions and improving air quality are boosting the demand for DC traction generators.

Urbanization and Mass Transit Systems: The growth of urbanization and the need for efficient mass transit systems are driving the demand for DC traction generators. Electric trains, trams, and light rail systems are being adopted in urban areas to alleviate congestion, reduce pollution, and provide sustainable transportation options.

Modernization of Rail Networks: The modernization and upgrade of existing rail networks, particularly in developing countries, are fueling the demand for DC traction generators. As rail infrastructure is improved and electrification projects are undertaken, the need for reliable and efficient DC traction generators for trains and trams is increasing.

Outlook: The outlook for the DC Traction Generators Market is positive, driven by the global push for cleaner and more sustainable transportation solutions. As electrification initiatives continue to gain traction, the demand for DC traction generators is expected to grow. Advancements in generator technologies, lightweight designs, improved efficiency, and integration of renewable energy sources will likely shape the market's growth and competitiveness.

We recommend referring our Stringent datalytics firm, industry publications, and websites that specialize in providing market reports. These sources often offer comprehensive analysis, market trends, growth forecasts, competitive landscape, and other valuable insights into this market.

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Market Segmentations:

Global DC Traction Generators Market: By Company • L&S Electric • Siemens • ABB • Hitachi Energy • WESTINGHOUSE • Ingeteam Traction Systems • VEM Group • Kirloskar Electric Company • Swiger Coil Systems • Nidec Generator • General Electric • Bharat Heavy Electricals • WEG Industries • TDC Parsons Peebles Global DC Traction Generators Market: By Type • 24KW • 30KW • Others Global DC Traction Generators Market: By Application • Railroad • Industrial • Mining • Others Global DC Traction Generators Market: Regional Analysis All the regional segmentation has been studied based on recent and future trends, and the market is forecasted throughout the prediction period. The countries covered in the regional analysis of the Global DC Traction Generators market report are U.S., Canada, and Mexico in North America, Germany, France, U.K., Russia, Italy, Spain, Turkey, Netherlands, Switzerland, Belgium, and Rest of Europe in Europe, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, China, Japan, India, South Korea, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA), and Argentina, Brazil, and Rest of South America as part of South America.

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Data and Statistics: Market research reports often include reliable and up-to-date data and statistics related to the ULSFO market. This data can help in analyzing market trends, understanding demand and supply dynamics, and making informed business decisions. Reports may include historical data, current market figures, and future projections, allowing businesses to assess market opportunities and potential risks.

Market Segmentation and Targeting: Market research reports often provide segmentation analysis, which helps identify different market segments based on factors such as vessel type, application, end-users, and geography. This information assists businesses in targeting specific customer segments and tailoring their marketing and business strategies accordingly.

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Market Trends and Forecast: Market research reports provide insights into current market trends and future forecasts, enabling businesses to anticipate changes in the ULSFO market. This information is valuable for strategic planning, product development, investment decisions, and identifying emerging opportunities or potential threats in the market.

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[soubaim]

Diesel engine working function | #Diesel locomotive | How a diesel locom...

[wifelinkmtg]

There's "spaghetti western" and then there's whatever the hell this Chef Boyardee shit is

Hello! and welcome back to Wifelink. We're talking about Outlaws of Thunder Junction today, Magic's second product in a row set in a version of Nevada, and let me tell you something: I am not impressed. The mechanics are uninspired, the setting is undercooked, the story is overstuffed, and to top it all off the whole thing smacks of settler-colonialism. AND they yassified Vraska, the monsters!

WE WILL GET TO THE HOT WOMEN, BELIEVE YOU ME, BUT FIRST I AM GOING TO COMPLAIN SOMEWHAT, AS IS MY RIGHT AS AN AMERICAN, AS A HUMAN BEING, AND AS A GAMER

The mechanics we've discussed elsewhere, and I will skim over the main storyline except to say that very few of this Big Villain Heist Team-Up gets enough spotlight to justify their inclusion here beyond getting recognizable names on cards, and that Rakdos' presence on the plane alone ought to be an apocalyptic calamity. I appreciate Jace & Vraska going full blackpilled accelerationist, stealing a baby, and aiming to destroy the multiverse & start over (a novel hybrid of Raising Arizona and Doctor Strangelove,) but I also know, sure as the sun rises, that whatever happens with their villain arc will be a underwhelming let-down.

What I actually want to complain about, though, is the setting. Thunder Junction ain't real, and I don't mean it's fictional, I mean it's plywood facades on a backlot. It's the set for a cowboy film. You feel me? This ain't a plane, it's a god damned sound stage.

Lemme go over the facts: we know Thunder Junction has been settled for a bit over a year. A year! - and yet there's multiple towns, multiple railways, and an honest-to-god metropolis. Less than two years and we already have ghost towns! This is not the product of a bunch of people on various planes all individually deciding to seek a new life in the off-world colonies. All of this represents a staggering quantity of people, material, wealth, and labor, being moved between planes, directed and organized - but by whom? For what reason? How, even? The story is totally uninterested in these questions.

One of the few silver linings to the way the Phyrexian invasion storyline ended was that the Omenpaths had a lot of interesting potential! Different planes would come into direct contact with each other for the first time ever! Different technologies, different philosophies and religions, different kinds of magic colliding, coming into conflict, adapting and adjusting to each other. And after a couple of sets where the interplanar contact was limited to one or two particularly adventurous individuals, we finally get to see what interplanar contact at scale looks like here in Thunder Junction... and it just looks like a John Wayne flick. Did people not bring their culture with them? Is there a big rack of hats and boots and dusters right where people step off the Omenpath? Shuck off those old Ravnican rags, kid, get changed. You'll spoil the aesthetic. I mean, it's baffling.

Luxurious Locomotive (art by Leon Tukker). This is one of the few man-made parts of this plane that I can look at and know where it came from: this is a Kaladeshi design. More of this sort of thing would have made Thunder Junction feel more like a real place and less like a Sergio Leone joint.

There's a side story, No Tells, by Isaac Fellman, which I quite like actually: it's about guilt and betrayal and the inevitable regrets of having moved into a queer housing co-op, and one of the things that makes it great is that we know where Yuma came from (New Capenna), we know why he left (the limitations of "be gay do crimes" as praxis under capitalism), and we know what he brought to Thunder Junction with him (cocktails, pool tables, and his co-op's emergency funds). Fellman has written nothing else for Wizards and doesn't play Magic, and even so he's done more to make Thunder Junction feel like a real place situated in a real history than the rest of the story team combined - which goes to show, one, that we should only let trans people write magic story for the next decade or so, and two, that what I'm asking for in terms of worldbuilding is not unattainable, or even that difficult.

And all of this ties into the colonialism, right? Thunder Junction is being colonized, and asking questions about who benefits, who's sponsoring this breakneck settlement of the plane, what they're after and so forth would require the story to take a good hard look at the process of colonization itself, and Wizards is flatly unwilling to engage with anything that thorny in their products. So, just as Ixalan involved a limp-wristed slant reenactment of the Spanish conquest of the Americas - but it's fine because they're the bad guys and they're technically not even trying to colonize Ixalan and they don't win anyway so no one gets hurt! - Thunder Junction is attempting to present a Disneyland version of Western colonialism. Untamed wilderness! Bringing civilization to uninhabited deserts! How cool and heroic these hard frontiersmen and -women are! I'm told they brought in Navajo cultural consultants for the Atiin, a fantasy equivalent, and I hope those folks were well compensated! The Atiin seem cool, and the one Atiin character we spend any time with is well-written, but the Atiin are not indigenous to Thunder Junction. They're not being colonized. And if there weren't anybody being colonized, I'd probably still dislike the colonial vision of a wild land inhabited only by animals, just waiting for us to shape it to our will with railways and violence, but there is in fact a native race of sapients on Thunder Junction, and these cactus folk get no voice in the story, so if they have some kind of opinion on the rapid colonization of their home and the clear-cutting of their cactus forests, we don't get to hear about it.

Prickly Pair (art by Brian Valeza) Too much of the extremely-limited presence Thunder Junction's only indigenous sapients have on the cards is devoted to cactus-based puns like this one, which is pretty distasteful given, you know, the colonialism.

I'm talking about colonialism not because I think that replicating colonial myths in fantasy fiction is an unethical thing to do - although it is - but because you can see, right, that Thunder Junction's lack of verisimilitude is intertwined with the colonial vision of the world at play here, yeah? The story wants to have cool cowboy shootouts and train robberies and it does not want its cowboy fantasy to be complicated by uncomfortable realities, so it has to avoid all of the basic worldbuilding questions that would tell us who the colonization benefits and how they're profiting off the plane, and in the end we're left with nothing but an empty aesthetic, like a duster hanging off a scarecrow, blowing in the wind.

ANYWAY SO WOMEN

To be honest, under the circumstances I'm not really feeling like giving the fine women of Thunder Junction my usual more elaborate treatment, so we're going to lightning-round this shit, which is at least thematic.

Blood Hustler (art by Anna Pavleeva)

Vampire MILF.

Rattleback Apothecary (art by Loïc Canavaggia)

Snake MILF.

Wrangler of the Damned (art by Michal Ivan)

Cis lesbian haircut, good with a rope.

Obeka, Splitter of Seconds (art by Ryan Pancoast)

BIG

[cyliph]

It’s important to start your character design with a question. Such as, “Do all precursors manage data processing equally or do specialty classes exist” and “how long can they live in a rotting corpse” :3c

Jo-an PDA scan:

Architect vessels present a hybrid technology of both cybernetic and biological components. Typically as both biological and mechanical processes begin to wear down an Architect can establish a new vessel to which to transfer their conscious. This individual however is a testament to the hardiness of their engineered inorganic components which can continue to persist in environments as low as 1.1 volts for centuries beyond their designated lifespan. Dwindling amounts of soft organic tissue indicate this individual’s vessel is nearing true death.

FORM: This individual presents a unique body design optimized for the collection and processing of external data. Appendages are split in to progressively more hair like fibers designed to extract information from the surrounding environment. Such a design suggests its original use as an extension to massive supercomputers. The vessel’s light exterior is potentially a result of chemical bleaching from the environment.

LOCOMOTION: Limb position and weight distribution suggest traditional motion was previously possible. Limited organic joint mobility and centuries of integration with the environment mean that locomotion is no longer possible.

BIOLUMINESCENCE: Traditional vessel luminescence appears to be heavily degraded. Full-range expression is no longer possible.

[thedansome]

My tiefling forge cleric, Dahlia Scratch, made herself an upgrade for the third act of her adventure. Now featuring: 1. The Ironheart Armor: her +1 adamantine magic armor 2. The Ironmaiden: her very own personal train locomotive/omnibus hybrid. Safe to say, she is styling for the adventures forward.

[blueparadis]

AMONG GODS AND MONSTERS + YOSHIDA HIROGUMI.

───❪ content & tags ❫⋮ A ceratin kitsune!hybrid with some magical powers takes a drastic step when pushed to the brink of death. In this survival of game, Yoshida does not know if its okay to blur the line between good and evil, between gods and monsters to survive death. { kitsune-hybrid!Yoshida x human!fem!reader, possessive behavior, smut descriptions, some mixed references of myths, sacrilegious themes.} word count— 2.5k. 

───❪ notes ❫⋮This is a submission of my entry for spring collab hosted by @public-safety-network & also tagging @orchid3a cuz i lob u the most. My exams are postponed so i took the liberty to finish a collab entry so my any means this won't be my best performance but i can assure you since i wrote on Yoshida i wrote it with all my heart, soul and ( redacted ) so yeah, you can enjoy this and if you do, don't forget to reblog.

Snow is falling outside. The world is covered in white, the trees have stopped singing, and the birds that have ceased crinkling. There is a kitsune sitting under a tree where the snow has yet to lay claim, brown and soft. Not a single creature can be heard breathing yet there is a trail of footsteps towards the snow-clad mountains. The kitsune walks up towards the trail of footprints and sniffs it. It is of a human and that too, of a female. As much as his eyes permit, Yoshida can only conjecture that the trail leads to the highest mountain peak. There is nothing at the summit of the mountains, never was; except the abandoned temple. It is almost a quincentennial old. Gusts of wind swirl around him as he changes his form from a simple mountain kitsune into his true form— he almost looks like a human but he is not one. Being in his true form has many perks— he can not be seen by others while he can see everything, his locomotive powers increase, and the sense of hearing and smell and as such are all heightened. He is greater than humans but lower than the gods, an outcast; a borderline creature among gods and monsters.

He reaches the top of the mountain within a minute. He scans the place and sees nothing except the abandoned temple. It has rusted bars, broken bricks,outgrowth of plants along the pillars and no traces of any prayer. Whoever came to his home must have returned or got lost in their way while coming here or may have died. That’s right, the forsaken temple is where he lives. A lazy yawn escapes his mouth. His mouth remains open agape as his ears pick up noise— the sound of a heart beating. His ears perk up. There is more: a sob and ragged breathing. Has human heartbeat always been this loud or is it just the place that it’s quiet? 

Yoshida takes a few steps toward the temple to see the source of the sound and when his eyes lay upon the girl who is crying with her knees pressed against her chest sitting at the corner of the staircase of the temple he wonders, have humans always been this ravishing? The girl wore a red gown made of thick velvet with gold and silver embroidery, and all the jewelry from her head-to-toe was made of fresh flowers and plant twigs. Yoshida does not remember any diviner aroma more than this. His interaction with humans has always been scarce, filled with nothing but bad memories. So, he does know if it is okay to be intrigued by the same creatures that have appalled him for centuries. The kitsune-being studies her for a while as she keeps on crying. He could touch her head and come to know what is the reason that has this flawless mortal in her lowest spirits but that would call upon a great peril on himself. He would become visible to her and she would definitely think of him as some sort of god, which he is not. 

The girl finally tips up her head. Yoshida Hirofumi has been living here for centuries. He has seen so many colors of humanity. He is not a believer in God. He does not need to. He is powerful enough to live on by himself but if he had to believe in the power and the Almighty, he would definitely believe in you. He watches you turn a little in the direction of the altar which is filled with dry twigs, broken branches, withered flowers, and dust. Your palms come together, your head tips up, and shaky lips crack open. “Dear god, if you can hear me if you. . .really exist please save me from being killed. Dear god. . .” You did not get to finish your prayer because clouds started to gather, winds started to blow from all directions, and all the flambeaus in the village at the foot of the mountain died casting a shadow all over it. Without much second thought, you run in the direction of your home with bare feet down the hill while Yoshida stands with rage brimming in his veins, mind, and soul. How dare a mere mortal threaten his existence?

There is a story believed by the people for centuries in this village. People say that this village is cursed which is why winter is the longest in this place than others. The villagers always had a set of precautions to defend themselves from this frosty cruel climate. They always did until they did not. One time, at the dead of night a girl from one of the wealthiest families went missing. A few days later, her body was discovered by the side of a river. She was decorated from head to toe, in bridal attire, and had blood stains on her inner garments near her crotch. While the priest rejoiced announcing how her death brought early spring in this village, the physician declared she died by breaking her neck after losing her virginity. 

None knew this was a murder. None knew except a kitsune that witnessed a naive girl falling for a man, trying to run from her fate and hence falling prey to the very hands of her fate. That is what he believes in, fate. A track, so strong that none can defy it. Yoshida has been surviving for centuries among humans, by not playing god. He roomed within the deserted temple for a reason. No mortals would ever come to pray at an old temple. No human can ever be such a big fool to pray where the gods do not live. But tonight, Yoshida heard a prayer amidst the altar. It is not a small thing that can be brushed under the rug like dust. If he fails to fulfill the prayer he will cease to exist. He has been labeled with a lifespan now, that is until you die. He has time which is not much now that he is tied to you. To be bound to a mortal by death seems a little too much as punishment for being an outcast among the gods. He can not accomplish that wish of yours. He is not a god. He understands God. God has a choice whether to save your life or his. He is deprived of such luxury. Now, he has to play god otherwise he would die.

When something bad happens to you, you start to believe in superstitions. And, when something bad keeps happening to you, you start to pray. Your current situation was the latter, at the mercy of the gods begging for your life. From the early days of childhood, at least when you were old enough to understand the difference between good and evil, you had no faith in god. You did not believe in gods but perhaps the gods really exist otherwise when the last ice queen was sacrificed to the winter lord, that is, to the god of winter; spring blessed the village within a week. At the blooming age of adolescence you were declared as the sacrifice for the next “ice-queen” With such a hefty title along with your name, you knew you had no choice of running away. If you had fled, your sister or your friends would have been sacrificed in your place which did not seem fair to you. Sure, their turns would come when it's time but who are you to push them to their death by avoiding yours? Isn't it the deeds of god? Or perhaps a Shinigami? The weather on the day of your sacrifice was extremely dangerous. It forbade all the villagers to stay outdoors and all tourists to reschedule their visit for the holy union of the ice-queen and winter-lord. Perhaps the god was angry at you for running away. He must be otherwise, why would the winter turn so brutal? Somehow it did not make sense to you. Why would a god suddenly be angry when he has been worshipped for aeons? You look through the crack of the window, tears streaming down your face feeling betrayed by everyone, by your mother, your father, and your sister who had kept you in a locked room so that you do not try to flee again. You open the window letting the cold bite your skin. And there, you see the temple high on mountains and a shadow lurking among the pillars. Perhaps, god did exist after all.

At Fortnite, when you visit the temple in the high of the mountains Yoshida feels unearthly. Seeing you alive and well, even if the night of sacrifice has passed he feels that he is being reborn. Your eyes are not puffy anymore, and neither do you have a runny nose like the day he first saw you. You are breathing tenderly and your heartbeat seems soft and stable. He does not understand why you are here. The winter still persists. The snow is still knee-deep but Yoshida does not understand why the villagers had kept you alive. You should be dead stripping him naked from all his godlike powers turning him into a mere mountain fox. Of course, you crossed his mind on the day of sacrifice when he was supposed to lose all his powers but he did not. He did not think of this any further taking upon the fact that he might be reading wrong for all of these. Perhaps, your prayer did not reach him in the right place and time. But all his clouds of confusion passed away when you prayed again. You notice a kitsune snuggling up to your feet as you pray. It is the same kitsune you have seen sleeping at the foot of the mountain, under the tree on a cold evening when you first came here. 

“Dear God. I believe in you.” You keep two baskets at the door of the altar stacked with various fruits and foods. They were offerings for you on the first day of your sacrifice. Throughout time, this sacrifice ritual has turned into quite an attractive yearly occurrence. It lasted seven days with all sorts of preparation for a bride and has turned into a major tourist attraction dragging people from other villages, celebrating it as a festive event, and sometimes participating in them. You go on your knees and bow down your head. Rising up you utter with a sweet hopeful voice. “You are my God.” Yoshida notices your lip curl in delight and for a moment he thinks he could touch you, feel you, to have you but then he remembers you are a gift for God, a thing that must not be tainted. A short-lived chuckle escapes his mouth as he sees you going on your knees as you whisper, “I hope to see you soon, my God.” 

Yoshida decides to play God for tonight. Tonight is the time when you will be killed, a gift to god. He does not know how he is going to save you but he must otherwise he will die. He is sure of it. He is now lurking in his kitsune form amidst the crowd while you are high on the stage seated in the most graceful manner staring at the poisoned cup of syrup that you are supposed to drink. The ritual is supposed to start by any minute now. The mass that has gathered in front of you will be on their knees and hands closed for prayers. When they will chant the mantras for the god of winter; when the hymns and instruments will be in perpetual cacophony to summon the god you will drink the syrup and sacrifice yourself to the god of winter to welcome spring. 

You see the mass going on their knees while your heart drops at the pit of your stomach. You close your eyes as you hear the name of winter-lord rising in unison in the voices of all those people you have lived half a life with and then, when you open your eyes with your vision blurred you witness a miracle. The fox who has been following you around since you were a child transformed into a human, but bigger. His hands rose along his ears and the moment it dropped there was nothing but absolute darkness. You were already sedated a little so that you could not run away but you could feel a hand scooping you into the air. You could see the whole village engulfed in darkness from atop the sky until your eyelids were heavy and you plunged into slumber.

When you woke up, you were pressed against the chest of a man, your hands resisted between the two hearts while his arms were embracing you lying on a soft quilt. To think that you have witnessed a fox spirit is beyond any tale you have ever heard in the village.  You stare at him in awe digesting the fact that how humane he looks. No one can tell that he is not human. “Are you awake, love?”  Even with such chilling winds you do not feel cold, rather the opposite.

His voice echoes. It feels divine as you give him a nod. You remember how one must always stay away from a fox spirit, for it can only devour you by deceiving you, that is how they survive. The dawn is almost breaking. You can now see, what seems to be the statue of the God of Winter, more precisely the Winter lord as you arch on your back feeling him roll over you. “I’ve waited for you so long, my God,” you whisper knowing it is useless to resist and why would you? You have been saved. Prophets would say you have been re-born, that you are one of a kind, that you are an angel sent from heaven, that you are the blessing that would free the other girls from the same fate, that you are almost God.

Yoshida certainly does not understand God but being your savior and mating with you amongst the altar of the very temple that has been worshipped by mortals for aeons sure gives him the thrill of being a God. And he thinks he can be. He can play god for a while, just for you. He dips his head in the crook of your neck starting to pepper kisses and trailing them up to your lower belly. He looks at the eyes of the statue before diving in between your legs. A gust of wind closes the door of the altar as he claims you as his own in front of the Gods. He eats you out until he hears a series of ludicrous moans from you. Your hands clutch his arms as he positions himself in front of your entrance ready to make you one of his kind by mating with you. While all the villagers are still sleeping at the foot of the mountain, a certain fox spirit is ready to show you a new world to you by playing god.

[chucklingpecan]

My friends all say I walk funny

Part crow part wounded goat they claim

Quite the hybrid

I really seek to be a snake

All those sleek scales

That's some loose locomotion

[wildishmazz]

i’ve been dying to hear your thoughts on the starlight express revival have you been is it worth it what do you think about the changes they made

Well... they did exactly the one thing I said would make the least sense(made Greaseball female despite the fact that Greaseball, of all characters, depends on being incapable of understanding what it's like on the wrong side of any flavour of systemic oppression), removed pretty much any sense of character(which at least means female Greseball doesn't stick out too much as a baffling decision among all the others), and telling the story seems to have been shunted to the very bottom of the pile of priorities, several places below "cover everything with holographic glitter" and pretty much on par with "adjust the keys of the songs to accommodate the fact that there are now altos and sopranos playing roles originally written for tenors and basses".

Introducing the concept of hydrogen power is a great idea(stars are made of hydrogen! Being powered by hydrogen is harnessing the power of the stars! What could be more appropriate for the Starlight Express??), but it's pretty much been plonked down with a shrug and an "I dunno, someone else figure out how to incorporate it into the text, I'm off for lunch.". There's a truck carrying around apparently unwanted hydrogen cells for... some reason? who is largely derided by all and sundry for... some reason? but is then able to couple up with Rusty to give him a power boost... somehow?

Many of the secondary and tertiary characters have been rejigged and renamed(the other competitors are no longer National Engines, which I can get behind, the stereotypes were always risky), including amalgamating Flat Top and CB into a new hybrid Slick Oil who is just vaguely antagonistic and rude until "Wide Smile". This falls narratively flat, because we already disliked Slick - there's no sense of betrayal or horror at the revelation that such a Nice Guy(tm) has revealed himself to be a gleeful mass murderer, just a confirmation that an unpleasant individual is, indeed, nasty. The other Freight(Porter and Lumber - Porter after Cole, Stilgoe is still at hand) join in with Slick in sabotaging Rusty, then sing "Right Place, Right Time" at him, claiming that they've been cheated too. Which um. My dudes. That was you.

An effort is clearly being made to be progressive with gender, but it doesn't look like it's coming from a place of any deep understanding. Casting an enby as Electra - great! But all their understudies are cis men. Removing early noughties Pussycat Dolls-inspired slut-drop anthem "Whole Lotta Locomotion" - great! But replacing it with an obvious rewrite of "Rolling Stock: reprise" rather than simply revert to the unobjectionable "A Lotta Locomotion"? Why would you do that?Give the coaches a badass new "We've had it up to here with this bullshit, and we're not taking it any more!" song - great! But rather than that replacing the "you're worth so much more than you think you are, now play mind games until you get your toxic ex back" song that gave Buffy and Ashley a chance to shine in the old show, where it would be appropriate in the plot, it's used as an introduction and there is no song for Belle and Tassita(as they now are) to show off in. It also randomly includes a snippet of "Tyre Tracks and Broken Hearts" which I assume is meant as a loving tribute to Jim Steinman, but unfortunately is such a distinctive and compelling melody that it sticks out like a sore thumb that it's never heard again. Mixing up the genders of the coaches by adding a boy - great! But now you can't use "coach" interchangeably with "woman" to make any sort of wider point, and that hasn't been carried through the rest of the show.

The cast are uniformly brilliant. I don't like the fact that Greaseball is being played by a woman, but by god, when Al Knott is on that stage it belongs to her and she has the range to flip around the octaves of material that resists being sung by her like a goddamn vocal acrobat. I don't like Control being in among the toy train characters(purely personal preference, I accept it as making a precedented amount of sense - they're now emphasising the fact that it all takes place in a child's dream, and if Clara can dance with the Nutcracker and Alice can talk to the Queen of Hearts, it's consistent for Control to be able to hand Dinah a box of tissues), but the girl I saw was an exceptionally good young performer, and legit looked like she was Momma's daughter. Rusty is 17. Seven-bloody-teen. And he's rivaling the first Rusty I fell in love with, who was 19(I was 13 I swear it's not weird). The way he holds a note while gliding down what looks like a 30 degree ramp alone distinguishes him. I have never seen a Dinah with better comedic chops. "UNCOUPLED" had me in stitches.

The costumes are disappointing. Like I said, they're very shiny. Everything is holographic, Greaseball is even lenticular. But there is little to no characterisation in the costumes - there are precious few details that tell you anything about who they are, they're just shiny blocky shapes. If you look really hard, maybe you can say that Dinah still has some tablecloth, and Wrench has spanner sets sticking out of her arms and legs as wings, and Electra has lightning strike balloons stored in a backpack. They look absolutely ridiculous, but they do imply electricity. Coming from the same designer as the costumes in Six, this is not only disappointing but surprising - I would have sworn that the Six queens were directly inspired by Starlight Express, they look like Tudor-inspired OC coach fan creations, but apparently Gabriella Slade had never even seen John Napier's designs before being asked to come up with something different. I assume she was under some severe limitations wrt not replicating anything that was his copyright, beyond basic features like safety pads and the skates themselves. I don't think the concept of using the costumes to convey the characters was copyrighted, though.

The beginning includes the "When the night is darkest" lullaby and I swear I nearly cried.

The "Starlight Sequence" is gorgeous. I don't know if it's been transposed into a different key to sit where both Momma and Rusty can sing it comfortably or if one of them just has that wide a range, but the horrific clunking great key changes mid-phrase that made the song physically painful to listen to in 2018 are not there. And the starfield that lights up for "I am the Starlight" is a kaleidoscope of pastel multicolour points sitting just above your head and all around the auditorium - that moment is properly magical.

Bloody, bloody "I Do" is still fucking there. It has still not undergone a second draft since it debuted in 2012.

There's a lot of dialogue/recit that's been inserted between songs, and it all kinda sounds like devised theatre that was initially improvised by people who were running out of ideas. Somehow it gives it the impression of being an amdram show with an inexplicably huge budget at some moments.

It is excellently performed, the music is still good, it is visually exciting. If you want to see some very talented young people performing familiar songs in a visual spectacle and you don't care about whether or not it makes any sense, it's very enjoyable.

[aut2imagineart]

I had to put in a lot of time and work for this piece but I was set on this concept.  Just like how I created various posthuman species for my Centauri universe, I wanted to create a bunch of variants of for another major group in said universe, the Uplifted (hybrid animals with human level sapience).  If humans need to modify/evolve to survive in different planets, it would make sense that the uplifted would need to do so as well in some cases.  What I have are the cases where I imagine the most notable changes would occur.

The top row are the uplifted modified for high gravity environments.  The Avian Parogions would have stronger bone structures and walk on their wings for additional support but wouldn't be too impacted by high gravity due to their lighter mass.  Ironically, the higher air pressure on high gravity worlds would make flight easier for them.  The mammoth-like Behemoths would have a more challenging time in high gravity.  They counteract this by using their tusks and trunks as additional support that functions like a sled while their more flexible feet shuffles across the ground eliminating the need to lift their legs.  The Dolphopods normally wouldn't be effected by gravity as they are normally in water and use technology to move on land.  For high gravity worlds, locomotive technology is more problematic so the Dolphopods would be modified to have more flattened bodies that move across land similar to slugs and mudskippers.  The Great Apes would be quadrapedic like Hi-G humans would which makes them resemble their less sapient ancestors.

The second row are low gravity inhabitants (with the exception of the Dolphopod).  Low gravity Behemoths have a lighter build that makes them more resemble camels and large antelopes.  Though adapted for lower gravity, they can tolerate earth gravity due to retaining sufficient bone and muscle density.  Low gravity Parogions are largely similar to their base counterparts save for longer legs and proportionately larger wings to fly in thinner air pressure.  Great apes in low gravity, like the Behemoths, possess a lighter build making them resemble gibbons from Earth with similar acrobatic agility.  The Dolphopod depicted in the second row isn't modified for low gravity as there wouldn't be a need for it.  Instead it's designed for fully terrestrial environments such as desert worlds, becoming a tripod with it's modified flippers and tail.

The third row are aquatic variants of which the dolphopods are excluded as they're naturally marine.  All of them possess both gills and lungs as well as retain the ability to move on land for adaptive flexibility.  The aquatic behemoth's physiology resemble an extinct order of marine mammals called the Desmostylia, while the aquatic Parogions resemble penguins and the aquatic Great Apes are more frog-like.

The last row are the super soldier variants of the uplifted, part of a group I call the Irradiated.  Each member of the Irradiated is genetically and cybernetically modified to be at their peak physiology and able to withstand extreme environments including hi-radiation (hence the name).  I have each of them partially armored to showcase some of their distinct physical features and are to scale with all the other uplifted (the irradiated Behemoth stands at 5.2m or 17.1ft at the shoulder).

Some of these designs may evolve over time and I might include more if I can think of any unique designs with a good reason for them.

As always, comments and critiques are welcome.

[vulpesvalentine]

Anti-honesty: What do your crushes do for a living

HA okay this is a good one anon thank you

Bovine: He's a professional bear wrestler at the local national park.

Canine: They work in a factory, they're the one that takes a knife and smooths out the butter in the containers so it has the nice lil swirly texture on top.

Corvidae: He picks the lint off of carpets and clicks their tongue while they do it. Tsk tsk, should have vacuumed better.

Cricetidae: She climbs onto your roof and stomps around to make sure it's ready for ANY weather it may encounter.

Hybrid: He's a preacher.

The Locomotives: As their name implies, they're aerobics trainers! C'mon ladies, PUSH IT!

Jinglejangles: They're the people who shake the bells during the holidays to collect money, except not for the SA fuck those guys.

[electronalytics]

Traction Generator Market Analysis, Key Players, Share Dynamic Demand and Consumption by 2017 to 2032

Overview: The Traction Generator Market refers to the market for generators used in traction systems, primarily in the transportation sector. The Global Traction Generator Market is expected to reach at a CAGR of 4% during 2023 to 2029. Traction generators are responsible for generating electrical power for propulsion in various applications, such as electric trains, electric vehicles, and hybrid vehicles.

Trends:

Transportation electrification: The need for traction generators is being driven by the continued trend of electrifying transportation, particularly electric trains and vehicles. The demand for electric propulsion systems and accompanying generators is rising as nations and regions work to cut greenhouse gas emissions and switch to cleaner ways of transportation.

Hybridization: Another trend in the transportation industry is the integration of hybrid systems, which combine electric and internal combustion engine technology. In hybrid automobiles, traction generators are essential because they produce electricity that powers the electric motors or batteries, improving fuel economy and lowering pollution.

Lightweight and High-Efficiency Designs: The development of light and high-efficiency traction generators is becoming more and more important. These generators are designed to maximise energy conversion, lessen energy waste, and increase system effectiveness as a whole. To accomplish these objectives, cutting-edge materials, inventive designs, and electromagnetic systems are being used.

Demand: The demand for traction generators is driven by several factors:

Electric Transportation Expansion: The increasing adoption of electric transportation, including electric trains and electric vehicles, is a primary driver of the traction generator market. Governments, regulations, and incentives supporting the transition to electric transportation are creating a favorable market environment for traction generator manufacturers.

Environmental Regulations: Stringent emission regulations and environmental concerns are pushing the demand for cleaner and more energy-efficient propulsion systems. Traction generators are essential in providing clean, electric propulsion, reducing harmful emissions, and meeting regulatory requirements.

Fuel Efficiency and Energy Savings: Traction generators, particularly in hybrid vehicles, contribute to improved fuel efficiency and energy savings. By capturing and utilizing energy during regenerative braking or operating in optimal efficiency zones, traction generators help reduce overall energy consumption and enhance vehicle performance.

Outlook:

The outlook for the Traction Generator Market is promising, driven by the global push for cleaner and more sustainable transportation solutions. As electrification and hybridization continue to gain momentum, the demand for traction generators is expected to rise. Advancements in generator technologies, including lightweight designs, higher efficiency, and improved power density, will likely shape the market's growth and competitiveness.

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Market Segmentations:

Global Traction Generator Market: By Company • ABB • Penzadizelmash • Kato Engineering • Traktionssysteme Austria GmbH • Republic Industrial & Technical Services • L&S Electric • Siemens • Hitachi Energy • WESTINGHOUSE • Ingeteam Traction Systems • VEM Group • Kirloskar Electric Company • Swiger Coil Systems • Nidec Generator • General Electric • Bharat Heavy Electricals • Elektroremont Banovići • WEG Industries • TDC Parsons Peebles Global Traction Generator Market: By Type • DC Traction Generators • AC Traction Generators Global Traction Generator Market: By Application • Railroad • Industrial • Mining • Others Global Traction Generator Market: Regional Analysis All the regional segmentation has been studied based on recent and future trends, and the market is forecasted throughout the prediction period. The countries covered in the regional analysis of the Global Traction Generator market report are U.S., Canada, and Mexico in North America, Germany, France, U.K., Russia, Italy, Spain, Turkey, Netherlands, Switzerland, Belgium, and Rest of Europe in Europe, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, China, Japan, India, South Korea, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA), and Argentina, Brazil, and Rest of South America as part of South America.

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[kumatajdg]

A realism style commission for Twitter user @TakanTv of a hybrid locomotive of the GWR 4500 and 5700 class!

Featuring their shortstack OC Karyn, who's just assembled it 🙂

[master-of-the-railway]

You know, Cleo can easily be inserted in your Children of Sodor au, I mean in the series itself we alreasy see she's very innocent and child-like due to being recently build anyway

HONESTLY. So true. I've been wanting to integrate the duo into the series for a while now, I've just been unsure of how to go abt it because Cleo is a fully unique one of a kind creation and I intend to keep the kids' origins fully mysterious for the time being.

Though she could have just Appeared like all the rest. Perhaps just materialized in Ruth’s workshop.

Congrats girlie!!! You're a single mother of a locomotive/car hybrid now.

[valtionrautatiet-official]

An introduction to VR locomotives, part 7/7: the Dr19

So we come to the end of this series of me being horny for locomotives. The last sexy machines to be introduced are so new that they don't even have an established nickname yet, the first locos having only entered service half a year ago: the Dr19.

Whereas all our new rolling stock since the early 90s has been based on pre-existing designs, these green beauties were tailored for our need by Stadler Valencia. These robust cuties can withstand temperatures down to -40 degrees Celsius, they are powered by two diesel engines (which can also use biodiesel), and we are already looking into the possibility of turning them into diesel-battery hybrids by replacing one engine with battery packs. As new technology becomes available, the sexy modular design makes it possible to swap out the engines for new, more environmentally friendly versions.

We've ordered 60 of these handsome things, with an option for 100 more. The first Dr19's were delivered in early 2022, and we tested them extensively before putting them to use in commercial service in May this year.

The Dr19 has been optimised for use in freight trains, with a top speed of "only" 120 km/h, but with a power output of 1 900 kW, making them currently our most powerful diesel (but not most powerful of all time, as that title belongs to the sexy French ladies of the Dr13 class, which we retired in 2000). Of course, there's no reason why they can't be used to haul passenger trains too, and they likely will do so for example on the northernmost, non-electrified stretch of the Helsinki-Kolari night train.

The official plan is for the Dr19 to replace our oldest locomotives, the handsome daddies of the Dv12 class. However, as the Dr19 is too heavy to operate on all tracks currently served by the silver daddies, it's likely we'll keep some of them around to keep company to the younger boys and girls. However (and we haven't said this publicly) I would presume the Dr19's will replace the butch ladies of the Dr16 class.