#the name being a descriptor of electricity’s effects rather than of electricity

[scarffles]

I posted 2,323 times in 2022

That's 268 more posts than 2021!

79 posts created (3%)

2,244 posts reblogged (97%)

Blogs I reblogged the most:

@les8ean

@winterdyldo

@salamanderville

@gayyydrienne

@bunjywunjy

I tagged 600 of my posts in 2022

#a nice palette - 61 posts

#other's fakemon - 49 posts

#scarf says shit - 28 posts

#my art - 27 posts

#fakemon - 25 posts

#long post - 23 posts

#fake pokemon - 23 posts

#fakemon pokemon - 22 posts

#pokemon - 22 posts

#my fakemon - 14 posts

Longest Tag: 138 characters

#people are wild are they catatonic while the characters talk about how war is stupid and pointless until the cool robots fight or somethin

My Top Posts in 2022:

#5

"Aha! Success! We've-- I've done it!" "Upon initial examination, I suspected the 'Mon to be akin to Hoppip of modern day-- Ground moves proved ineffective against it as predicted, but upon testing its response to Electric attacks, it behaved as... A pure Grass type would. Fascinating." "It's evolution was wholly unpredictable-- We hypothesized that it would have only one evolution as revived fossils of the past have traditionally had, but it did not... Look much like Jumpluff. In fact... It is difficult to gather any data first-hand at all. Being around it for too long caused... Intense, vivid hallucinations, and dizziness for hours afterwards. Remarkable..." --Dr. Boroughs

Do not tag as 'Kin'.

I'm clearly having a lot of fun with the little 'journal' entries of Dr Boroughs here. I think it's more fun that way too. Here it is! My funky fern fossilmons with no names as of yet! Trying out some simple layouts for fun was really nice. It really spruces my stuff up.

94 notes - Posted April 21, 2022

#4

Rock/Fighting snail that likes to bash its eyestalks against rocks. When it finds a rock it can't smash, it keeps it and carries the stone with it to train with. Big thank you so so much to @synthaphone for helping me out with the evo! (Also go check out their art too it's STUNNING)

104 notes - Posted March 12, 2022

#3

See the full post

115 notes - Posted March 2, 2022

#2

Heyoo! I made a fun little generator for Fakemon! It's designed to give you an environment, to either inspire routes to make or a Fakemon that could fit within that route.

Have fun with it! Feel free to suggest descriptors or biomes for me to use! If it inspires you, tag me in your creations!

121 notes - Posted March 11, 2022

My #1 post of 2022

"Given that this is the first Amber of its kind discovered, I am not shocked an entirely new 'Mon was revived from it."

"Give the Amber's unique properties, I was wondering if it would have any noticeable effect upon the revived 'Mon-- It seems that, in it's base form it does not. We will train it to see if it does evolve, or if it needs a stone, an item..."

"For now, it's current observed behavior is... Rather ordinary, hmm-hmm. It prefers humid areas and prey that lurks within the water. It is, quite possibly, a distant ancestor of Yanma."

---

"Aha! Ahahaha! It evolved!"

"As it neared evolution, its behavior seemed to change rather suddenly-- It became less docile and far more aggressive, often taking on older, more powerful 'Mons we have around the research facility. It seemed all it needed was time..."

"What a truly astounding evolution. I must find more Resilient Amber to see if its unique properties lead to such a surprising evolution. Or if the same 'Mon is trapped within each Resilient Amber... What an exhilarating thought!"

-- Dr. Boroughs

Revived an old mon concept of mine (heh!) to make this buggie. it used to be bug/dragon but i thought that was boring! some new art and colors later, boom! a fun prehistoric bug/fighting type is born!

224 notes - Posted May 12, 2022

Get your Tumblr 2022 Year in Review →

[tinymixtapes]

Feature: Insomniac Focus

Drew McDowall’s work extends well before Coil’s 1998 album Time Machines, but his major releases from that work to now is more than enough to explore. Coil fans, I know you’re set. It’s partly you who I had in mind when I welched on my assignment for his latest solo album, The Third Helix. You likely have alerts on this guy, and no amount of critical descriptors (“harrowing,” “cavernous,” “dreamscape,” “hallucinatory,” “bleak,” “trance-inducing,” etc.) are going to make any difference to you. And, as for neophytes, McDowall is not only an easy sell, but one who you likely have to get to ass backwards. And in these diffuse, cherry pick-enabling internet times, that’s something. We tend to keep our paths of discovery close to the vest against the snotty record store clerk in our heads. I say “we,” because I’m a newbie myself at 38. I did meet a classmate in my junior year of college who tried to help me with my post-NIN fan, small town ignorance, but it was to little effect. I don’t wanna admit I got into Blackest Ever Black and PAN artists before McDowall, but it’s true. There is no tomorrow, so allow me to show my ass in this regard. It took time — and a closer friend with a staggering record collection — to show me the way. I won’t blame blowing my assignment on anything but me, but I will offer the assertion that Drew McDowall’s music is alive in ways that language is not. Although McDowall, John Balance, and Peter Christopherson collaborated on Time Machines, you could hardly call it a conversation. It feels more like an unstable, massive hum, with the creative instinct of human interference put in restraints. It’s the sound of artists getting out of their own way, carving out a path for something that doesn’t sing so much as surge like blood or water or electricity (it resists analogy, so I’m inclined to reach for more elementary terms). If the intention was to induce the loss of a sense of time, it dissolved critical faculties in the process as well. It is sound happening to you. Whatever a train does to you when you hear it, before you even begin to get to the typical leitmotifs. Whatever a tuning orchestra makes you feel, before you remind yourself not to feel anything about it. There is suspense, sure, but there’s also the flat pulse of pure sensation. Time Machines hunkers down and dispels reaction in favor of presence. Of true immersion. Of rote and unquestioning self-sacrifice to a sensorily consuming source. The tracks being named after psychotropic drugs and the perhaps unavoidable (there’s always “repeat all”) reality of their finiteness are the only things stopping this machine. It has you without a hello. Time Machines hunkers down and dispels reaction in favor of presence. Of true immersion. It’s curious that this towering, uncompromisingly minimal work is collaborative, while his eventual solo material doesn’t shy from a comparatively genre-friendly, kitchen-sink aesthetic. But more on that in a bit. First, a decade-plus later, some more from the creative alliance dept. Having familiarized myself with Psychic Ills, McDowall’s collaboration with Tres Warren as Compound Eye was on my 2013 radar. Their music intrigued in ways that the sturdy psych rawk of Psychic Ills never did. I liked it enough to save it, but never got too deep. So McDowall’s presence didn’t properly register until researching him this year, even after the aforementioned friend gave me his free download code for 2017’s Unnatural Channel. Having familiarized myself with McDowall, it’s easy to see that the man never quite got triggering-then-getting-out-the-way-of-strong-currents out of his system in the intervening years. It contains that blissful, sci-fi pastoral modular babbling that is really nothing to turn off, but the album is balanced with the (watch me writhe, beset by stultifying magnetic poetry adjectives) vast, impassive coursings of McDowall’s high water mark material. The album title, Journey From Anywhere, reinforces the notion of not ruining vital elements of sonic procession with basic human shit. Both are men, with presumable communication skills, but never does conversation seem like an apt analogy. Their collaboration is a numb sort of cooperative sentience, toiling as a vessel for steady, sluicing flow. Destiny being God and human’s favorite crap joke alike, the void really deserves more credit. Compound Eye’s shimmering, delicate, 69-minute reverie comes across like a humble attempt to give the nothing its due. It simmers in rote bodily function reality, even as it attempts to merge with the least dense, most windless air it can manage to breathe. Another collaborative work, The Ghost of Georges Bataille (released on Bank earlier this year), is less of a curious animal, but enticing nonetheless. Hiro Kone (a.k.a. Nicky Mao) specializes in elegant digital snowdrift downtempo. She, like McDowall, is a friend to contemplative melancholy as a default mode. But similarly to McDowall, she’s careful to augment her traditional rainstreaked Aphex brooding with character-rich textures that teeter on the brink of encroachment. Here, McDowall pushes this bordering that much closer. Each haunted progression is enshrouded with warm yet disorienting clamor. Similarly to the post-Boards re-tooling of Dalhous, Bataille takes away the head-nod in favor of a swirled sort of distance. This blithe obfuscation renders that tradition of pastoral, half-remembered dream progressions that much more affecting. McDowall excels as a bit player as well. In 2015, he featured on Ben Greenberg’s (Sacred Bones engineer, Men) debut with Michael Berdan (York Factory Complaint) as Uniform. As much as the album is a scorcher par excellence and far superior (and I’m edging on apples/oranges territory here), what “Death Star” is to The Future of War, “Lost Causes” is to Perfect World. McDowall’s hermetic throb steals the show on an album of showstoppers. Then, ably displaying his adaptability to ambient techno, McDowall lent his modular chops to another album highlight on Hiro Kone’s 2017 album, Love is the Capital. “Rukhsana” is a shorter track, but it still bears the unmistakable fingerprints of McDowalls absorptive approach. With these drop ins, McDowall redeems the notion of the guest spot from mere name-dropping and seamlessly applies his methodology rather than his personal stamp. Now, back to 2015 and Drew McDowall’s first official solo release under his own name, Collapse. As I mentioned, McDowall wound up being decidedly less reductive once left to his own devices. Similarly to Prurient’s later output, there is a concerted effort to tacitly merge monophonic direness with monolithic earthen beast-sloughing reverbations, whelmed to the edge of over. Dark monophony has retained a lasting power, even if the grubby fingers of branding-obsessed metal aestheticians have rendered its keenings almost cute. These are the ones who cry “false metal,” which in and of itself is false. It’s no different than complaining about how football has changed or how a comic book adaptation oughta be. True artisans of inner and outer darkness are not beholden to purist genre fetishism. They survive, thrive, and die by their virtue in this exploration. By their unwaveringly limitless drive, we are able to imbibe the vast shimmering terror innate to existence. While Collapse may not be the most chilling thing out there, its black satin bug eyes affix you to where you are and evaporate your culture-soaked lunges for contextual asidery. Collapse by Drew McDowall True artisans of inner and outer darkness are not beholden to purist genre fetishism. They survive, thrive, and die by their virtue in this exploration. Things only seemed to get better with 2017’s Unnatural Channel, though it’s of a piece enough that “seem” might be the operative word. There are two tracks featuring words/vocals from Roxy Farman (of superb NYC duo Wetware, also a guest on the Hiro Kone album), but the key adjustment is a Vanity Records-like focus on the embracing of silent rests. Of course, the fidelity is higher, but the unrelenting hesitation of that legendary label’s best material (namely, Tolerance’s 1981 LP, Divin) is a curious early precedent. Even with the presence of a singer, Farman’s recitation of “this is what it’s like, sleep deprived” is just as innately infused as the “I convulsed” sample on the last record. And her whooping and schizo mutterances on closer “Recognition” are essential but unshowy bits of punctuation. All spaciousness aside, the tetanus textured throb of “Unnatural Channel (Part 2)” is a sort of head-nodder, but even this winds up being more of a cautious slink through a confusing party (boring? bad scene? twisted? brilliant?) than a departure. Although the bowstring bouncing on The Third Helix opener echoes Unnatural Channel’s “Tell Me The Name,” “Rhizome” initially feels like a proper departure. Not unlike the airy skittering of Actress’s R.I.P, this tune initially seemed like a wrong turn. It’s lovely, especially when the “Sinking of the Titanic” strings come in, but it feels almost lateral rather than expansive. The touchstones come too easy. It’s a fascinating track, the way it swells and glitches out abruptly, but it’s also strangely on-the-nose for this artist. Things get better and back to the same (“Proximity” sounds cut from the same cloth) from there, but one couldn’t be blamed for mistaking Third Helix for a Helm, Fis, or post-Virgins Tim Hecker album. Of course, he is a sort of godfather to said touchstones, but similarly to the atemporal realm of Time Machines, this sort of sine wave slippage reads more familiar than it actually is. And, for what it’s worth, why shouldn’t masters be genuinely influenced by their descendants (beyond tokenistic exaggerations)? Chances are, they are beholden to a lot of the same technology anyway. Taken another way, McDowall’s newest is a sort of long-distance collaboration with those who’ve been inspired by him and his rarefied peer group. Conscious or not, its blending with the aesthetics of younger, like-minded artists could be seen as a rejection of the notion of hierarchy in musical succession, one way or the other. The Third Helix is an endearingly solid listen, and it deserves a place among the heralded releases of 2018. Similarly to the previous two (all on Dais), the album’s tracks don’t stray too far past the five-minute mark. Despite this, they stretch out in the ears like ancient aural cobwebs, making one feel as lived-in as the planet itself. I’ve tried not to use the word “innovation” here. Too often, the notion of innovation is whittled down to novelty, and reinventing the wheel is not what makes McDowall’s third-act material so worthwhile. More so, it’s the sense of earnest drive. The deep affinity for life’s rich tangent. That it’s darkly fixated is no more material than that the blues are despondent. Actually, the best of that long deracinated-to-pilloried genre has much of the same turning-oneself-inside-out quality. Even if Drew McDowall never tops himself or others in this quietly industrious field of wide-eyed abstraction, he is set to remain a stirring essential to every cerebral wandering ear, regardless of prerequisites or lack thereof. http://j.mp/2RBEqkz

[tecinfo]

Sly new motor tech, two electric SUVs among best at New York Auto Show Audi, Toyota, Nissan, and Hyundai make our rundown—in EV and ICE.

The New York International Auto Show opened its ways to people in general on Friday morning. Lately, it has discovered its place as the most imperative of the American automobile fairs—Los Angeles and Detroit have been torn apart by CES and appropriated by outside shows, all to the Big Apple's advantage. The current year's occasion didn't disillusion, as we found amid the press review days held not long ago. There will be bounty more NYIAS content from us in the following couple of days, however how about we kick things off with our Best Of honors.

Remarkable in the Automotive Technology field: Nissan VC-Turbo motor

Since this is an innovation production, I'll start with our honor for the coolest innovation in plain view. I was enticed to give the respect to Waymo, which has recently banded together with Jaguar to assemble a huge number of self-driving electric SUVs. Waymo is light a very long time in front of the opposition for driverless innovation, yet these robo-taxis won't really be conveyed for an additional two years, so we'll spare that one for a later date.

Another solid contender is Cadillac's all-new V8, which will show up in a V-Sport form of the CT6 extravagance vehicle. It's a 4.2L V8 putting out 550hp (410kW) and 627ft-lbs (850Nm), civility of twin turbochargers. These settle over the motor, between the barrels—a purported "hot V," as found in current Formula 1 motors. The motor will be interesting to Cadillac, in spite of the fact that it's reputed a variant with a more traditional turbocharger game plan (with the admissions outwardly of the V) will show up in the mid-engined Corvette that is as yet not affirmed but rather everybody knows is en route.

In any case, given the truth of environmental change, I'm not by any stretch of the imagination open to commending this intense motor as the best tech I found in two days. Especially since there's a substantially more shrewd inside ignition motor in plain view in the Javits focus. It's one that will contact numerous more individuals, as it will be found in the engine of Nissan's fresh out of the plastic new 6th era Altima car. It is, obviously, the Variable Compression Turbo.

It's a 248hp (185kW), 273ft-lbs (370Nm) four chamber that, through some resourcefulness, can change its pressure proportion from 8:1 up to 14:1 (shifting the motor uprooting from 1.997L to 1.970L all the while). It replaces the 3.5L V6 of the old Altima with comparative execution however substantially less weight and with bring down fuel utilization. The motor likewise changes from the general burning cycle to the more productive Atkinson cycle at higher pressure. Between tech like this current, Mazda's approaching Skyactiv-X innovation, and Delphi's Dynamic Skip Fire, it's urging to see the business attempting to make the inward ignition motor increasingly effective.

Best New Small Car: Toyota Corolla

Next up is another littler vehicle. As noteworthy as the Nissan Altima looks, Toyota had a considerably more critical uncover for us in Manhattan: the new Corolla. Like the ongoing Prius and Camry, it too utilizes the Toyota New Global Architecture. Toyota's official statement proclaiming the new Corolla has some superb descriptors, some of which seem like the names of Iain M. Banks' Culture ships. So the hatchback's outline is clearly a topic called Shooting Robust. The styling at the front uses outline methods of insight called Under Priority Catamaran and Keen Look; the lodge is Sensuous Minimalism.

The shape is lower, more extensive, and longer than the last Corolla. This implies it has a more extensive track (the separation between wheels on a similar hub) and a more extended wheelbase. Toyota says the new Corolla is more amusing to drive—however, after my involvement in the Camry I'll pause and settle on my own choice on that front. It looks the part, particularly in the envisioned Rival Blue, which is a considerable measure like the Ford Focus RS I loved to such an extent. (Be careful: that shading emerged like a sore thumb to the fine New York State Highway Patrol, procuring me a ticket that still smarts two years after the fact.)

This being 2018, there's a considerable measure of innovation. An eight-inch touchscreen stands pleased on the dash—some may lament the way that it's not incorporated, but rather the ergonomics are better, and, on the grounds that it's higher up, it ought to limit drivers' eyes being far from the street. The Entune 3.0 infotainment framework is based on Automotive Grade Linux, and you likewise get Apple CarPlay and Amazon Alexa reconciliation.

Those are pleasant to have, yet the propelled driver-help frameworks (ADAS) are likely more essential. The suite is called Toyota Safety Sense 2.0, and this is the main US-advertise auto to include it. There's [deep breath] programmed crisis braking, forward crash cautioning, brake help, versatile voyage control, path takeoff cautioning and directing help, programmed high-pillar headlights, path following help (another help that I believe is path keeping), and street sign location. Some trim levels likewise get blind side checking however not raise cross-movement alarms.

Goodness, and there will be a manual gearbox accessible.

Best New Luxury Car: Audi A6

Audi is just about done reestablishing its whole lineup. A year ago, we saw the new A8, at that point in Detroit we saw the smooth A7. Presently it's the A6, which to my bored eyes looks a considerable measure superior to the active model. The front and back lights are intensely adapted, and, at the back, they experience an energized design when you begin the auto. (The quicker, more-costly S6 gets an alternate succession to the "typical" A6.)

The inside utilizations the same "Dark Panel" idea as the more costly A7 and A8; all the physical catches have been supplanted by capacitive ones. Try not to stress—these are dependably in a similar place, so despite everything you'll create muscle memory. The most recent form of Audi's MMI infotainment framework again utilizes a two-screen setup (atmosphere controls and other regularly utilized capacities on the lower one), both of which have haptic criticism. Not at all like the A7, the A6's dash invites both driver and front seat traveler as equivalents, and the ventured configuration upgrades the sentiment of openness.

That roominess isn't only a deception, for the new A6 has more front headroom and shoulder room, and the back has more legroom now. Clearly, a long excursion is the most ideal approach to put that under serious scrutiny, yet it felt bounty extensive for the couple of minutes I gave it a shot.

Here in the US, the A6 will accompany a 3.0L TSFI (coordinate infusion, turbocharged, fuel) V6 motor with 340hp (250kW), which, admirably well work out, ought to complete 33-35mpg, in spite of the fact that it's yet to be figured by the EPA. Also, a 48v gentle half breed framework is standard.

Best New SUV: Hyundai Kona Electri

My pick of the new SUVs in New York may astound some of you. Lincoln demonstrated to us an awesome new seven-situate Aviator, and Land Rover brought along the restricted release (and dapper costly) Range Rover SVR, yet you can keep those. No, I was stricken by Hyundai's new Kona Electric. The expectedly fueled Kona (the green one in the display) has quite recently gone marked down, and it begins at just $19,500. Be that as it may, now there's a battery electric vehicle (BEV) alternative.