#Golden Dynamo
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Rider Coroika on a date
#Golden Dynamo#Coroika#splatoon#splatoon manga#rider coroika#holy shit squibby draws something that ISNT emperor ?!?!? unreal
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GOLDEN DYNAMO IS BAAAACK
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Dynamo / Electro
pdsh.fandom.com/wiki/Dynamo_(Fox)
Creator(s): Harold Weber
Alias(es): Jim Andrews
1st Issue w/Uniform: Science Comics #2
Year/Month of Publication: 1940/03
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Is Chirpy Chips still a thing? We’re a year into this and we haven’t heard from them apart from Harmony working Hotlantis.
Paruko? bah, I doubt we'll get anything from Splatoon 1/2 bands. Nogami despites fun and much more player base enjoying things, accept it annon HTE, Disspair, Sashimori... They are all fuxking dead
But with the new trailer fans theorized that maybe wet floor came back:
#Harmony.... im not used to that name xd#its same energy as Quinn and Mashup#Mayroownnnn sheawmps#fuck splatoon they gave golden dynamo chump#just give me kraken or booyah ball god lord#🤸🤸🤸 manifesting wet floor
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WIFE
Meet my wife, she’s a golden dynamo roller, and she’s my precious she/her gay
#Golden dynamo roller#My malewife roller#Splatoon#coroika#she’s my precious malewife#My wife#i love my wife#she’s a she/her gay#She’s perfect#i love her sm#i make out with her in the corner#Sorry for not playing im making out with my golden dynamo roller
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and that drizzle season trailer....um ...is that it...
#i HATEEEEE the seasonal updates.#i miss the bi-monthly updates#little-to-no-gear being added with like a couple of weapons#and on top of that is the fact that it's splat3 first anniversary...tbh i expected way more#splat2 1st anni literally gave out new hairstyles and gear and a shitton of weapons#and makomart. yeah 1 stage. but there was so more included compared to splat3 anni#the battle pass + seasonal update thing kinda fucked this game over#like i love the oversized shirts and snapbacks being added but...i wish there was more#ok yeah i got my golden dynamo tru
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Damn we getting a new splat roller variant before getting the gold dynamo that's crazy 🧍🏻♀️
#atp they ain't even trying to hide their hatred for us dynamo mains 😔 (jkjk)#really excited manta coming back thooo#manta and mako tower? golden rotation ✨#splatoon
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The Dynamo, Jared Kushner (The Golden Toilet)
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Dynamo Roller is in the Salmon Run rotation again, and as it happens Dynamo is one of the most common weapons I see people mention on my post asking what people’s hardest Salmon Run weapons are. So here’s some quick tips to make the experience a bit less painful for you Dynamo non-enjoyers:
The most important part when using Dynamo is to do the complete opposite of conventional Dynamo wisdom and roll as much as possible. While it’s not very fast, the Dynamo’s roll squishes all regular Salmonids, even Cohocks, instantly. You can kind of think of yourself as the cleanup crew, getting the pesky non-bosses out of the way and opening up the path for your team.
Dynamo is actually pretty good at fighting Boss Salmonids, with the exception of Stingers and Fish Sticks, who you might as well ignore entirely as the multiple hits simply take too much time to bother with. When dealing with bosses, you almost always want to use the vertical flick. While the horizontal flick is wider, it also deals less damage and has less range, making verticals more reliable as long as your aim is true. Additionally, you don’t want to play around your maximum range, usually, as rollers have pretty aggressive damage falloff. Try to stay within medium distance for maximum damage.
And that maximum damage is beefy! You can oneshot Steelheads very reliably, and most other bosses go down in two swings, or even one if you can manage to get the fling-rollerbump combo (though that’s somewhat unreliable at the best of times).
And while I did say to primarily focus on vertical flicks, horizontals do have their time and place, too. They rain down ink over a large area, making them useful for hitting angles you couldn’t normally get at reliably.
But where Dynamo Roller really shines is in special waves. Glowfly waves is the big standout, as you can slow-roll by only very slightly tilting the stick forward, moving yourself at a glacial pace while still having the roller hitbox, crushing the entire wave underfoot with basically no effort. Goldie Seeking is another big standout, as crashing into the Goldie while it tries to run away will deal absolutely ludicrous amounts of damage to it and generate a ton of Golden Eggs all at once, assuming you don’t kill it outright. Additionally, Dynamo is pretty good against Mudmouths, too, as you can simply park yourself in front of the Mudmouth and just let it spit out Salmonids right into the sweet embrace of your Roller.
Dynamo Roller is admittedly an acquired taste, especially in Salmon Run, and it is hard to use well, but be patient and watch your ink tank, and you’ll absolutely get results!
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Joe Rosenthal Allen Ginsberg at Lawrence Ferlinghetti's "City Lights" Bookstore, North Beach, San Francisco 1959
I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look for the sunset over the box house hills and cry.
Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and
sad-eyed, surrounded by the gnarled steel roots of trees of machinery.
The only water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hung-over like old bums on the riverbank, tired and wily.
Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust--
--I rushed up enchanted--it was my first sunflower, memories of Blake--my visions--Harlem
and Hells of the Eastern rivers, bridges clanking Joes greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past--
and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives
in its eye--
corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb,
leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear,
Unholy battered old thing you were, my sunflower O my soul, I loved you then!
The grime was no man's grime but death and human locomotives,
all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis'ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt--industrial--modern--all that civilization spotting your crazy golden crown--
and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos--all these
entangled in your mummied roots--and you standing before me in the sunset, all your glory in your form!
A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze!
How many flies buzzed round you innocent of your grime, while you cursed the heavens of your railroad and your flower soul?
Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old
locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive?
You were never no locomotive, Sunflower, you were a sunflower!
And you Locomotive, you are a locomotive, forget me not!
So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter,
and deliver my sermon to my soul, and Jack's soul too, and anyone who'll listen,
--We're not our skin of grime, we're not our dread bleak dusty imageless locomotive, we're all golden sunflowers inside, blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.
-- Allen Ginsberg, "Sunflower Sutra" 1955
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So the golden dynamo has super chumps apparently…
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Dynamo
Creator(s): Harold Weber
Alias(es): Jim Andrews
1st Issue w/Uniform: Science Comics #7
Year/Month of Publication: 1940/08
pdsh.fandom.com/wiki/Dynamo_(Fox)
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The New Cue #357 February 12:
Everything Everything's Jonathan Higgs
"We were weirdos then and we’re weirdos now"
At the beginning of next month, Everything Everything release their seventh record Mountainhead. It’s another brilliant album from one of the UK’s most imaginative and forward-thinking guitar bands, a quartet who never tread water and have been consistently honing, reworking and outdoing what’s gone before for over 15 years, always coming up with a new version of themselves without ever losing what makes them special. The pillars of their music tend to be a mix of danceable synth-y grooves and inventive art-rock, intricate arrangements constructed around big pop hooks and surrealist lyrics, frontman Jonathan Higgs’ vocal delivery emotive and exuberant at the same time.
Higgs is at the centre of it all, a creative dynamo who seems to sum up their idiosyncratic approach and who has the ability to inject emotion into the bizarrest lyrics, lines such as:
“And no reptiles! Just soft boiled eggs in shirts and ties,
Waiting for the flashing green man
Quivering and wobbling just like all the eggs you know”
That one is taken from Get To Heaven’s epic standout No Reptiles.
Or this, which somehow sounds poignant when Higgs sings it on the electro-pop banger Arch Enemy:
“Fatberg you smile, with your grave wax eyes, will you consume me?”
Or how about this oddball corker, from the euphoric electronica of Raw Data Feel closer Software Greatman?
“Maybe I see Klingons on the starboard bow
Maybe, I’m a cat inside a sacred cow
Higgs is at it again with this zinger from their excellent recent single Cold Reactor:
“I sent you the image of a yellow face
To tell you I’m sad about the emptiness that’s all around me”
That song, released in autumn last year as the first single from Mountainhead, has become Everything Everything’s biggest radio hit yet. It’s spent weeks on the Radio 1 B-list, a very uncommon position for an indie band whose members are all in their late 30s, but its success that sums up the vibrancy and relevance of Everything Everything in 2024. Even better, it probably meant Radio 1 have had to get their heads around this blurb from Higgs on what the new record Mountainhead is about:
“In another world, society has built an immense mountain. To make the mountain bigger, they must make the hole they live in deeper and deeper. All of society is built around the creation of the mountain, and a mountain religion dominates all thought. At the top of the mountain is rumoured to be a huge mirror that reflects endlessly recurring images of the self, and at the bottom of the pit is a giant golden snake that is the primal fear of all believers. A ‘Mountainhead’ is one who believes the mountain must grow no matter the cost, and no matter how terrible it is to dwell in the great pit. The taller the mountain, the deeper the hole.”
Well, you don’t get that with Catfish And The Bottlemen. A few weeks ago Niall – that is me, I am The New Cue’s resident Everything Everything nut in case you hadn’t guessed – spoke to Jonathan over Zoom about the mad concept around the new record, the dynamics of being in a band in 2024, his favourite Liam Gallagher tweet and more. I’ve made this playlist of my favourite Everything Everything songs to listen whilst you read,
Hello Jonathan. I love the new record, it feels different to Raw Data Feel, a bit looser…
Yeah, it’s got a lot more freedom and it sounds more like a band playing a lot of the time rather than the rigid, more computerised stuff that we were doing before. We made an effort to make it feel a bit more real and laid back.
Was there much overlap?
No, partly because we put everything we made for Raw Data Feel on that record, we didn’t leave anything in the banks. We did the opposite with this, we actually went back and looked at some old demos and brought them back to life because we were looking for some kind of angle that we weren’t going to stumble across, we wanted to go back to our youngest selves and go, ‘What was that thing we were doing?’.
That’s interesting, how far back did you go?
I think it’s sessions for A Fever Dream, or it might be Re-Animator, so five or six years ago. Some of the songs on this are from that time, or at least elements of them are or a little demo was made and then thrown away and then we went back and said ‘Let’s explore this and breathe new life into it.’
When you’re seven records in and you start to look back like that, does it feel like different versions of the band?
Yeah, definitely. There’s definitely been eras, we’ve never got stuck in one way of doing things. There’s an evolution, for good or for ill, since our first songs to now. I can find myself very quickly thinking in those terms when I hear a song from then, I’m like, ‘Oh yeah, I was trying to do this’ and that stuff changes over time and I’m glad it does because otherwise, you just make the same record again and again and no-one wants that.
Yeah. Without naming any names, for some bands it ends up becoming a process of survival and maintenance.
Yeah, thankfully, we’re not in that position. I know what you mean, this idea of being a nostalgia act does not appeal very much, partly because we were at our peak three albums in so we can go back and feast on Get To Heaven-era but I have no interest in going back to Man Alive and trying to recreate that partly because we were weirdos then and we’re weirdos now, it wasn’t the glory days by any means. I’m immensely proud of what we did back then but I’m not going to try and retread it. This is an odd thing to say having just said that I went back to some old demos and put them on our new record, but those demos were rejected for reasons that I find interesting now. And I don’t feel that we need to play the games we were playing them because we’re so good at writing successfully now, I think.
Something like Cold Reactor, I didn’t labour over it and I knew as soon as it was done, it was great and I knew that would that would carry us through. It allows you to feel a bit more relaxed about creativity rather than ‘Must get that radio single or we’re doomed!’, which obviously is the burning hot coal under our butts most of the time because it’s easy to take that stuff for granted, popular songs, but you’ve got to actually write them and they’ve got to actually be popular otherwise no-one cares. Basically, every album usually comes down to one, two or three songs and if none of them have any interest, then people just go, ‘Did an album even come out?’.
Cold Reactor is a good example of the band right now, it seems to sum up all that’s great about Everything Everything and it’s become this mad radio hit.
I know! We’ve watched a lot of friends’ bands struggle in this period we’ve had, 15 years now. There is a tendency to rest on your laurels or try and repeat the thing and it’s very difficult to not do that. Sometimes, I’ve done it myself when I’ve sat down and written a song and then I get to the end of it, I go, ‘Well, we did that better with X song on Arc’ and it’s like, ‘I could do this and our fans will really like it because it sounds just like us, it sounds just like Arc’ and then we’re like ‘No, into the bin with you, let’s try and take that same sensation but do something new with it’. That often comes down to the production. I think if you were to strip all of our songs of their production, then you could probably find something I’ve written now very similar to something I’ve written.
There’s a simplicity to a lot of the songs on the new album, nothing is overloaded and it makes the more outlandish stuff more potent.
That’s been a big thing to learn over our careers. You’ve got the ability to do outlandish stuff, and you’ve got these players who can play really well but that isn’t enough to just present all of those things at once and expect people to go, ‘Wow!’. Some of them will, and that’s how we made our name, the prog dads, as we used to call them, that came to our shows in the very early days and just stand there and go, ‘yes, this sounds like Yes!’, and that’s fine. But that I felt like it wasn’t really a challenge. It felt like being a music student still, trying to dazzle each other with complexity and emotion slowly rose through all that and they all just fell away. I was like, ‘No, that is the hardest thing to communicate’ and that’s the challenge. That’s what the greats do is, they get your emotions and you can’t manufacture that and you certainly can’t bamboozle that into people, you have to start with a strong, simple, true, or as close to true as you can manage, emotion and then you can start having fun with it. I think that’s the thing that took us the longest to learn.
Everything Everything’s work has grown more emotional with every record. You’ve got these big concepts around them but that disguises the fact they feel a bit more personal and vulnerable each time…
I think that’s what happens to humans. Twenty-three-year-olds are a strange breed to look to for sustenance when it comes to art, there’s a rawness to being that age, it’s an age of discovery. And that stuff is very exciting but there’s no real reason why someone older would create like that or go to that well, it actually gets quite sad when people try to go to that well. Now I’m older and I’m more of an emotional person and I’m less about fireworks and more about volcanoes! I don’t know how to put it, there’s something much deeper now when I create than when I was a young punk.
On that note, rather than me crowbar into an incredibly long question, why don’t you sum up the concept of Mountainhead?
It’s extremely simple, a one metaphor fits all type-deal. I knew I wanted to sing about capitalism but not put too fine a point on it. I mean, it’s not a very subtle metaphor. But I knew there were certain elements of it that I wanted to get across, namely the Sisyphean sort of feeling of it being pointless and also, the fact that there’s this trade-off between building the mountain but having to live in the dark, which was a big touchstone for me when I read Capitalist Realism by Mark Fisher, this sense that our lives are getting worse in some ways, that the more we progress we’re becoming more isolated and we’re shutting off large parts of our humanity in the search for this goal of ever expanding and growing our economy and trying to climb the ladder. It’s simple enough that you can’t really fault it, I’m not saying this is exactly how we live, there’s not enough to it for it to fail. It’s something everyone gets straight away.
A lot of the lyrics touch on that theme but which of the songs is the most personal to you that veer away from the concept?
Probably The Witness, that’s definitely not really related to the concept. That’s pretty personal. There’s a line in there about this… I shot this bird with an air rifle when I was a kid. I walked into the shed and I saw it, this cute little chaffinch or whatever and it just sat there looking at me and then I picked up the air rifle, I knew where it was and I killed it.
You bastard!
I know, I’m telling you this now cos I felt bad, I’m not saying it was a good thing! For some reason that came back to me. During the very early sessions on the album, we’d all gone away somewhere and when we got back, Alex went up to his studio at the top of his house and a pigeon had got into the room and thrashed and thrashed to get back out for four days, there’s like blood all over, feathers everywhere. I was like, ‘Guys, this is a sign… we’re gonna call it The Pigeon!’. Obviously we didn’t but birds do get into it - Canary obviously is a song there - and this thing about that bird and it flew into my head. That’s very personal. But then the rest of the song is about some fucked up stuff that happened to me in the pandemic that haven’t properly been able to talk about in these situations because it’s a bit too personal, basically. A lot of Raw Data Feel was about trying to deal with that as well. I should’ve called it Raw Data Deal. That’s the only moment I’ve given over to that thing on this newest album, the last song. I haven’t actually been able to listen back to it because it makes me too emotional when I think about what it’s really about. But that’s not for public consumption, it’s not needed.
Fair enough. Tell me about the dynamic between the four of you, because that seems like a really important point in your longevity. Apart from a very early line-up change, it’s been the four of you the whole way.
Yeah, it’s great. We’ve settled into our roles over the last 15 years. Alex [Robertshaw, guitarist and keyboards] is very much the producer now and by way of that, he’s ended up writing a lot of the guitar and keyboard parts, which I would usually write more of in the past. I’ve become completely consumed by the emotion of getting the message across in the lyrics and stuff like that, as well as obviously writing songs. But in terms of how they sound, I’m less and less involved or concerned, that’s Alex’s playground more. Mike [Spearman, drummer] and Jez [Pritchard, bass] are very good at taste-making. Me and Alex do 98% of the composition and then those guys are much more like, ‘Well, I feel like this is a good way for us to go or this is better than this one,’ things you can’t really tell when you’re the creator and you think everything’s great. They’re also really good at the whole business side of the band, which is the less romantic end but incredibly important. So talking to accountants and they’re having meetings with the labels and Mike’s producing the videos, getting organised, all the stuff that me and Alex being “the creatives” are terrible at because we have the luxury of being terrible at them. Those guys fill in the gaps and they’re really, really good at that. Jez is really good at meeting people and all that kind of shit, so it works really well. You’ve got at least one person covering every possible angle. I’m doing a lot of the visual stuff now. I’m designing a lot of the visual side of the band, basically most things that we’re tweeting or videos is all being done by me. As a unit we could basically do this by ourselves... if someone gave us loads of money, which is how we operate.
My last question is a random one but it’s been on my mind. On Christmas Day, you dug up a four-year-old Liam Gallagher tweet where he called the producer Dave Sardy “Dave Sardine”, and I wanted to know how your Christmas Day mind had been drawn back to that.
Haha! Well, when it happened someone tweeted it to me and I thought was funny and I retweeted then. Then recently, I remembered it and I went to see if it was still there. It was and I was like, ‘I’m gonna save that for Christmas Day’ - it wasn’t related to what I was up to. It’s just like, right, ‘Christmas Day, time to tweet my favourite tweet’. It will always be my favourite tweet because it’s how angry he is about Dave Sardine. It’s so good.
The full article is available on substack.
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w the low stnce that frye takes a lot i bet she has some huge fucken thighs under those poofy pants of hers. she'd be gym buddies w callie. they would totally arm wrestle a lot. they'd come across marina in the gym sometimes too. muscled idols. handling the golden dynamo is like Nothing to them. i need people to see my vision hrngh
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wife pt 2
Some more wife screenies. I love my wife so much.
#splatoon#splatoon 3#golden dynamo roller#My precious dynamo#Wife#wife reveal#My wife#she/her gay#wife#i’ve been playing for hours please help me
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Full Genocide Jack Present Guide!
I noticed that most of the time, when people make present guides for Danganronpa, they only include the loves and likes, however, I’m interested in what characters dislike and hate as well.
There are 90 gifts in total.
Loves (3)
017. Everlasting Bracelet
071. Maiden’s Handbag
072. Kokeshi Dynamo
Likes (10)
010. Royal Curry
020. Hope’s Peak Ring
029. Leaf Covering
033. Jimmy Decay Shirt
034. Emperor’s Thong
035. Hand Bra
037. Demon Angel Princess Figure
053. Berserker Armor
067. The Funplane
086. Cat-Dog Magazine
Okay (64)
001. Mineral Water
002. Cola Cola
003. Civet Coffee
004. Rose Hip Tea
005. Sea Salt
006. Potato Chips
007. Prismatic Hardtack
008. Black Croissant
009. Sonic Cup-a-Noodle
011. Ration
012. Flotation Donut
013. Overflowing Lunchbox
014. Sunflower Seeds
015. Birdseed
016. Kitten Hairclip
018. Love Status Ring
019. Zoles Diamond
021. Blueberry Perfume
022. Scarab Brooch
023. God of War Charm
026. G-Sick
027. Roller Slippers
028. Red Scarf
030. Torneko’s Pants
031. Bunny Earmuffs
032. Fresh Bindings
036. Waterlover
038. Astral Boy Doll
041. Quality Chinchilla Cover
042. Kirlian Camera
043. Adorable Reactions Collection
045. Unending Dandelion
048. Rose Whip
049. Zantetsuken
050. Muramasa
051. Raygun Zurion
052. Golden Gun
054. Self-Destructing Cassette
056. Pretty Hungry Caterpillar
057. Old Timey Radio
058. Mr. Fastball
060. Crystal Skull
061. Golden Airplane
062. Prince Shotoku’s Globe
063. Moon Rock
064. Asura’s Tears
066. Millennium Prize Problems
068. Project Zombie
069. Pagan Dance
070. Tips & Tips
073. The Second Button
075. Vise
076. Sacred Tree Sprig
077. Pumice
078. Oblaat
080. Bojobo Dolls
081. Small Light
082. Voice-Changing Bowtie
083. Ancient Tour Tickets
085. “If” Fax
087. Meteorite Arrowhead
088. Chin Drill
089. Green Costume
090. Red Costume
Dislikes (10)
025. Glasses
044. Tumbleweed
046. Rose in Vitro
047. Cherry Blossom Bouquet
055. Silent Receiver
059. Antique Doll
065. Secrets of the Omoplata
074. Someone’s Graduation Album
079. Water Flute
084. Novelist’s Fountain Pen
Hates (3)
024. Mac’s Gloves
039. Shears
040. Layering Shears
Happy Gifting!
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