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#Atlas Factory
loworbittourist · 1 year
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Gwangyang industrial complex - South Korea 🌏 4k link
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muffinlance · 14 days
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Isopuppy's got legs for DAYS
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Just need to get the top carapace on and write up the tutorial, and y'all can make your own Good Dog.
My baby spent most of the morning crawl-chasing me around, desperately pointing at the pupper to be allowed a hug (which she was finally granted just before nap time when I got the back seam closed, and she hugged it So Hard, then gummed those antennae real good). Toddler is demanding he be allowed to sleep with it tonight. So isopups are VERY snugglable, is what I'm saying.
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jellyfilledeyes · 29 days
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Friendly reminder that katara is a canon punk and not a "soft girl whos into bad boys UwU 🥺" like bro stop projecting this isn't a Y/N fanfic
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sirensongsea · 3 months
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ᴅᴏ ᴀɴᴅʀᴏɪᴅꜱ ᴅʀᴇᴀᴍ ᴏꜰ ᴇʟᴇᴄᴛʀɪᴄ ᴋᴀʀᴀᴋᴜʟ?
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runefactorynonsense · 4 months
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Happy Year of the Dragon!!
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talefoundryshow · 1 month
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NEW VIDEO!
Is it better to be a stickler for every little detail, or is faithfulness to the original a bit overrated?
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silverchronicler · 1 year
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So I spent all evening at Tyana Pass
And spent most of it with this song stuck in my head.
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Mirror Defense really is just the edgy sci fi version of this ep of Avatar the Last Airbender.
Catch me flying through the void singing at the top of my lungs SECRET TUNNELLLLL SECRET TUNNELLLLL
Bet the void wyrms will love that
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peony-pearl · 1 year
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Its post war and people are maintaining jobs and you're gonna complain about how 'un-elegant' factory work is when not performed by mystical element arts, miss 'I was a 14 year old waterbending prodigy and I'm dating the Avatar'???
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lobster-tales · 2 years
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Aesthetic Moodboard for Zutaraang Week 2022 @zutaraangtastic ​
Day 6 // Sun/Moon/Stars // Star Wars AU
The chosen one will bring balance to the Force. 
And so this prophecy was fulfilled, when a Jedi Apprentice named Aang defeated Emperor Ozai, ending his tyrannical rule. The war left a shattered galaxy in it’s wake, one that Aang and his faithful companions have worked tirelessly to rebuild. In the last several years, Jedi Master Katara has created a school, passing on the ancient ways to the next generation. Meanwhile, the emperor’s banished son, Zuko, reclaimed the crown, and helps to establish a new government that serves the many instead of the few. 
As the chosen one, Aang is torn between these two worlds. Despite his success in felling the empire, he is still Katara’s Padawan and has much to learn. But his part in the war has made him a legend, meaning his involvement is key in convincing the planets to join the new republic. He must find a way to balance his responsibilities, lest the delicate peace be disrupted. 
Perhaps it would be easier if he didn’t also have feelings for both his Jedi Master and the young emperor...
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farblechar · 2 years
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Dai Atlas vs. Black Zarak
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biglisbonnews · 1 year
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Knockdown Center in Queens, New York Tyler Myers never expected to find the crucible. The former projects manager for the Frieze Art Fair had construction workers jackhammering into the concrete floor of a 50,000-square-foot industrial space in Maspeth, Queens, that had lain fallow for roughly a decade. What started out as a straightforward plan to install bathrooms turned into an impromptu archeological dig.  “We start digging in the floor of the building and we find these troves of broken, blown glass, then we find these tunnels in the floor in the basement,” Myers recalls. At the heart of the octagonal chamber lay the immense iron crucible once used for melting silica at more than 3,000 degrees Fahrenheit.  Nearby were four lumps of discarded glass, roughly two by five feet each, in deep matte orange, navy, white, and navy. “If you can think of a clear marble with the swirls inside, it's very much those colors that we found in those big cleanups,” Myers says. It turns out, that’s exactly what they were. Back in 1902, this building originally housed the Gleason-Tiebout Glass Factory, which produced the bulbs for indoor gas lamps below its three towering smokestacks. At the time, the surrounding area of Queens and Greenpoint to the south was a hive of industrial activity dedicated to the five “black arts” of glass-making, printing, cast iron welding, ceramics, and oil refining. Decades later, the factory turned to producing glass marbles, before transforming into a space for the Manhattan Door Factory, best-known for producing knock down door frames. Since 2012, it’s been home to the appropriately named Knockdown Center, an interdisciplinary performance space that’s hosted everything from a “floating forest” art installation to a Carnegie Hall production of West Side Story. Yet even today, hallmarks of more than a century of history remain embedded into the space. Those blocks of colored glass, for instance, are still in that subterranean space, which now houses the techno club Basement.  “The architecture of the space, like a lot of buildings of its age, becomes a story of layers,” says Myers, now co-founder and director of Knockdown Center. “It’s very much the story of New York City. How many times has the city been built layer upon layer? Finding something of this scale and of that era that still was intact more or less is very unusual.” Excavating those layers unearthed nine full garbage cans of discarded glass, and the stories that came with them. “Early in the Knockdown Center’s life, we did a flea market and during one of those an 84-year-old gentleman called Frank showed up and said, ‘I got my first job here as a teenager blowing glass,’” Myers says. “I was stunned and immediately asked him to give me a tour of the building. I asked him, ‘What’s the deal with all this glass?’” It turned out that a particular trove of shattered blue-and-white globes were essentially the discards. How they wound up there was simple: the factory boss never looked at that particular spot. “If you blew something and you'd screwed up, you didn't want him to see it, you just chucked it out the window,” Myers says. Just as the original factory served the needs of its neighborhood, the current performance space aims to reflect the city’s current creative zeitgeist. Musical programming runs the gamut from Disco Tehran, which spins funk-forward tracks inspired by pre-revolutionary Iranian dance clubs, to blues to techno straight out of Berlin and Detroit.  “I think that there's a movement in nightlife away from sparkly Champagne bottles and more towards collective engagement,” Myers says. “I think with all old architecture, part of what makes it so interesting and for me, so appealing for new purposes is the way that the history of a place evolves based on the community that's there at any given time.” https://www.atlasobscura.com/places/knockdown-center
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loworbittourist · 10 months
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Fukuoka - Japan 🌏 4k link
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bachlivesbitch · 1 year
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he’s got lots of work to continue and all but
i am also HERE for prince harry throwing molotov cocktails into buckingham palace
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temis-de-leon · 1 month
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What I would watch with the OM! cast:
Lucifer: How it's made (someone take him to a factory)
Mammon: Peaky Blinders (they speak his language)
Leviathan: MatPat's FNAF lore videos
Satan: Castle (I'd say Sherlock, but I prefer Castle)
Asmo: La isla de las tentaciones (a show full of couples trying not to cheat on each other; they fail)
Beelzebub: Nikocado Avocado (I want him to live the full human mukbang experience)
Belphegor: he'd fall asleep, but Rise of the Guardians (I think he'd like both Sandman and Pitch Black)
Diavolo: ATLA (he's like Aang fr)
Barbatos: National Geographic's snake documentaries (he needs to see some rats get eaten)
Solomon: anything Gordon Ramsay related or those tarot shows that only air at 3 a.m.
Simeon: Glee (the writing is horrible)
Luke: my brain says The Princess and the Frog (Tiana's cooking and hardworking attitude), but my heart says Supernatural (just because)
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Masterlist
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atlasllm · 2 years
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comradekatara · 14 days
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Started watching lok and they spent so much time making mako fumble beautiful women they forgot to make non-benders oppressed
LMFAO yeah book 1 is such a mess. I think they were trying to illustrate that amon is a charlatan who used the plight of the people to disguise his rise to power through framing it as a genuine social movement for equality, but it doesn’t actually make any sense because “non-benders” and “benders” broadly speaking do not constitute coherent classes. the class dynamics in republic city operate along axes of neocolonialism and neoliberalism, so it’s not a matter of non-benders or benders having more power, it’s a matter of 1) who stands to benefit from living in a fire nation neocolony on earth kingdom land (descendants of original fire nation settlers) 2) who controls the means of production (hiroshi ford, primarily!). the sato family are not benders, but they are shown to be far more powerful than mako and bolin, who are literally professional benders, because they are industrialists who control most of the technology in/of the city. in fact, we constantly see mako and bolin’s bending-labor being exploited, whether in dangerous athletic arenas, doing dangerous work for gangs, dangerous factory work, etc. just due to the concrete examples we are shown, if anything, non-benders largely live in wealth, while benders largely live in poverty.
but this evidence, too, is anecdotal, and i don’t believe it, because again, “non-bender” is not a coherent class marker/identity. king kuei is the monarch of the world’s largest nation who has spent his entire life so sheltered that he wasn’t even aware that the world had been devastated by a century of fire nation imperialism. sokka is a colonized subject who spent his entire childhood internalizing the notion that it was his duty to die as a martyr to save his sister who has been valorized due to her unique position as the last waterbender of the southern tribe (which, if you couldn’t tell, is the result of a targeted genocide, not some inherently distinguished qualia that designates benders as ontologically superior). the fact that neither of these characters are benders does not align them socially or politically.
moreover, the reason that katara’s waterbending was valorized within her tribe was due to the scarcity of waterbenders as a result of their systemic elimination. waterbending represents a unique cultural artform to their people (it’s actually one of the first things the show establishes) and only katara possesses the unique capability to continue that legacy. due to the fire nation imperialist project, katara being a waterbender puts a target on her back; yes, it empowers her personally and culturally, but materially it constitutes another facet of her oppression — much like haru as an earthbender in occupied territory, and much like aang as the last airbender. meanwhile, firebenders are materially empowered due to their imperialist dogma that establishes firepower as the inherently superior form of bending / technology of conquest. as atla establishes, bending is political due to its spiritual and cultural value, but is politicized primarily with regards to colonial power dynamics, and thus not all benders constitute a coherent class, certainly not as they would either function to oppress or be oppressed by non-benders.
i’ve seen a lot of people claim that amon represents communism, or more specifically, maoism, which is bogus for many reasons, but most principally is the fact that he quite literally never addresses the issues that are actually oppressing certain people of republic city: namely, capitalism. “oh but he knows he’s bullshitting, he’s just telling people what they want to hear because he’s a populist dictator who just wants to seize power over republic city!” okay, so in the most generous reading of amon, he’s trump (I know lok is an obama era text, but just go with me here): he’s a member of an “oppressive” class disguising himself as a man of the people to appeal to a broad demographic by scapegoating an arbitrary group of people through tactics of fearmongering (“benders will kill you and your family…for reasons”) because he’s simply a power-hungry conman. he knows that neither non-benders nor benders are materially oppressed, and is simply exploiting the intuitive logic that it must suck to be a non-bender in a world full of people with literal superpowers for his own benefit.
and he’s doing all this …. because he had an abusive father??? or something???? nothing about his motivations or ideology is coherent. when jet manipulates katara and aang into helping them fill the reservoir, it’s with the explicit intention to flood an occupied village as a mode of anticolonial resistance. when long feng manipulates kuei into being his malleable puppet, it’s with the express purpose of controlling the entire earth kingdom from the shadows. amon wants power…because? maybe i’m just remembering key details from his tragic backstory (granted, it’s been a while since i’ve rewatched lok), but i can’t remember amon ever expressing a coherent ideology or motivation besides maybe spite? and either way, his role as a populist dictator villain who employs the signifiers of the chinese cultural revolution is pretty obviously in poor taste when the blatantly pressing issues of capitalist and neocolonial exploitation are never actually addressed and critiqued beyond the bogeyman anarchist terrorists and the fascist ethnonationalist pointing out that the status quo is bad, maybe? to which they must all ultimately be made to surrender to the effusive, all-powerful glory of impotent liberalism. whatever. at least we have korrasami.
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