#The Mechanists

[screwzara]

Faction Relations - The Anthropophagi

Sub Faction: Limaia Town

The false town made by The Anthropophagi as a decoy to their actual home. The Town has grown into more than just a trick however and into a fully functioning sub faction.

Limaia Town is fairly ordinary, with the inhabitants of the True Town aiding them.

Though the yown is aware of their parent faction, they willing choose to remain quiet. Limaia Town & True Town are extremely close and loyal to each other for these reasons.

Operation Ichor, Gardenview(faction), The Merchant Order, Ruin Corp. & Zodiac belongs to @slumbrr-r

Overseas Commandment belongs to @collectingsorrows444

The Mechanists belongs to @eventide-paradox

The Castaways belongs to @ihatebeingoriginal

The Field belongs to @haruhikiomori

Vinization belongs to @modcroissant

The Wild Riders belongs to @tickytheclock

The Sanctuary belongs to @bobacake7

First few faction relations are done :D

[yoymonkey]

The mechanists!! beep boop 🤖 [I love them]

[eventide-paradox]

"If the world has fallen, is pushing forward still worth the pain?"

"If it isn't, then we don't seem to have gotten the memo."

According to the poll results, you guys all wanted to hear about the Moongazers first, so here ya go!! INFORMATION: The Moongazers are one of the eight divisions of the Mechanists faction, denoted by the emblem of the moon held within a gear. They specialize in innovation and design, spearheading much of the Mechanist faction's development both technological and societal. The Moongazers were the first division to form within the Mechanists, being quickly followed by the other seven as the faction rapidly expanded from a small band of survivors into the massive community and organization it is today. The majority of the Implants utilized by the members of the Moongazer division are sensory- or utility-based in nature, although some may also have more combat-focused capabilities as well. LEADERSHIP: While individual projects are managed by whichever Toon or Toons came up with the idea, the division as a whole, as with the other seven, is led by its representative member of the Council of the Engine, an Astro named Zenith. Unlike other Astros, Zenith is completely incapable of actively utilizing the magic that comes so naturally to others of his kind, making him something of an outcast in his youth. However, one day, he would meet a Toon who was, in many ways, his complete opposite- a Toon blessed (or, depending on who you ask, cursed), with a nearly-infinite source of magic. This Toon, of course, was the young boy who would one day become the Engineer, founder and leader of the Mechanists, and this fateful meeting set Zenith on the path to greatness...although, of course, he certainly wouldn't describe himself that way.

[leavingautumn13]

ham-to-ham combat

[i have commissions open now]

[candle-scm]

my takeaway from natla is that og atla zuko is hot topic flavored gay and natla zuko is barbie flavored gay

[falloutconceptart]

The Mechanist

Concept art for Fallout 4

Art by Lucas Hardi

[bblackthing]

Winter time of Teo and Aang

I really wanted to draw Teo going penguin sledding with Aang! It was fun to design Teo's 'winter' wheelchair and Aang's chuba)

ZKversion

[vaguely-concerned]

it probably says something either sad or deeply unfortunate about me as a person, but I'm darkly amused to see some people react to the reveal of the ultimate permeability of souls in tlt as a triumphant thing -- the "you can't take 'loved' away!!!" side of it all -- when my first reaction was such an immediate wave of 'oh, oh so this is why this series is horror, I truly understand now' distress haha. ngl the final confirmation of the self not being inviolable in the deepest way freaks me the fuck out far more than any moment of body horror in the series has managed. (these two elements are of course the two sides of one thematic coin; it's about the horror of our bodies and minds and selves not being inviolable things, and about the effect of violence on them on so many different levels. violence psychological and interpersonal, physical, subtextually sexual, emotional, medical, political, a whole unlovely smörgåsbord of indignity and violation a person can be exposed to, and on a broader scale the spectrum of violence colonialism wields). The world and other people being capable of leaving indelible marks on us for good or ill through their presence in our lives is of course a pretty self-evident demonstrable truth in the real world, but somehow having it be proven metaphysically just uh. Fucks me up! 

It also drives home to me just how perfectly Muir has captured the dilemma at the heart of human connection and intimacy: the fact that the thing that gives us life and meaning is also capable of harming us so deeply. the same thing that can be so beautiful — even in a bittersweet, violently transformative form like with the creation of Paul — when done mutually and consensually and compassionately, is the same process that means someone like John can touch someone else's soul and 'after he's put his fingers on something, you'll never find anyone else's fingerprints on it; too much noise'. I think the text itself — the whole series, because to me this is what it is ultimately about, this tension between individuation/self vs. love/connection/enmeshment — is far more ambivalent in its treatment of it than saying it’s inherently a good thing or inherently a bad thing. The only thing it says for sure is that it is always a thing, that thinking you’re ever getting away from it is the height of futility, and that through being alive (or even through being dead lol) it is something you have to engage with in some way no matter what. Contact with other people is deeply necessary — without it we sicken and die. it can be the most beautiful and meaningful thing in a human life, and the most unspeakably horrific. All of these people are searching for some way to be whole, whether in total self-contained sufficiency on their own or in melding with someone else as their ‘other half’, and stumbling around in the dark they reach for each other and score deep wounds into the thing they’re trying to touch even when they don’t mean to. Taken to horrific extremes with the form of lyctorhood John guided his disciples to when they were ‘children — playing in the reflections of stars in a pool of water, thinking it was space’, because while people hurt each other all the time with differing levels of intentionality behind it, what John did was deliberate. It weaponizes the misapprehension of what closeness must be and destroys everyone involved in the process… and all because it leaves John the one sun their ruined lives have left to orbit around, because that’s the closest thing his soul will allow to connection. He doesn’t understand that to truly touch something you have to truly let it touch you back, and then wonders why he’s never satisfied.   

‘The horrors of love’ has been memed to death, I know, but… yeah. That is what it is, isn’t it.

[keilinkzone]

When the Legion of Steal get their hands on JadeTech

[diesvitae]

Fourth and final prize, this time for @valezy who won on Instagram! I'm always very happy when I can draw cool sylvari characters and Maghiran definitely is SUPER cool! Sponsored by ArenaNet

[artbyblastweave]

What's effective about The Superhuman Gambit, right, is that the AntAgonizer and the Mechanist are modelling a very 1950s superheroic paradigm basically to a T. The question of why you need a superhero around- the gag that superpeople do nothing but pointlessly fight each other for the sake of it- has been the number one criticism that basically every non-parodic piece of superhero media published after 1986 has attempted to pre-empt. Contemporary superheroes might encounter and defuse high-stakes crises at a completely unrealistic rate, but within the logic of their stories, contemporary superheroes pull their weight- by authorial fiat, their worlds would constantly be suffering mass casualty events if they weren't out there doing their thing. In the 1950s, though, all of this shit, by editorial mandate, was completely siloed from real stakes, even a lot of forms of real crime that were considered too risky to acknowledge as a thing in that political climate; it was all cops and robbers, themed heists, superdickery, nothing of substance, because the entire medium was declawed by the Wertham Scare.

A superhero isn't any more of an outlandish person to have in the Fallout Universe than the kinds of people that are the protagonists of these games. Moreover the actual powersets on display aren't even particularly stupid. Being able to control giant ants with your mind is the kind of thing that nets you feudal territorial holdings if you take it seriously, stupid costumes or no- ditto for being able to field an army of battle-ready robots. Canterbury Commons is very pointedly the site of the one group of people in the game who are trying to get, like, an actual economy going. They're the economic analogue to Project Purity. If either of these assholes threw their personal armies behind that project, the setting would look very very different by the time you climb out of the vault. But they aren't allowed to be the kind of superheroes who notice that, or apply themselves in that way, or really meaningfully engage with the world at all, because, again, they're specifically 1950s superheroes. And this all dovetails really well with my read that Fallout 3 is largely a game about people burying their heads in the sand, immersing themselves in a nostalgic past as a way to avoid thinking about the horrors of the present.

[highfantasy-soul]

Ready for a hot NATLA take?

The live-action DID include an adaptation of The Great Divide episode.

Instead of Sokka identifying with the war-like, meat eating, not prim and proper tribe and thinking 'yeah, I identify with them, therefore I'm on their side and will argue they can't be wrong' he identified with Sai, the mechanist where Sokka saw reflected his desire to be more than a 'great warrior' but also to use his mind and ingenuity to help his friends - therefore he didn't want Sai to be wrong.

Instead of Katara identifying with the prim and proper, well prepared, educated and clean tribe and thinking 'yeah, I identify with them, therefore I'm on their side and will argue they can't be wrong', she identified with Jet the freedom fighter where Katara saw reflected her anger, pain and desire to fight back against the fire nation as well as create a community to help people who were harmed be healed - therefore she didn't want Jet to be wrong.

The live-action was able to take the theme and lesson from one of the most maligned episodes of the animated series and reframe it within other plot lines to make it so much more poignant and nuanced, pushing forward a lot more character development than 'Sokka is dirty and lazy, Katara is uptight and prissy'. The live-action took the lesson and actually tied it to Katara and Sokka's core character motivations that will have arcs for them rather than surface-level character traits that never really change.

Anyways, the live action adaptation of Avatar the Last Airbender is really good and y'all should watch it - or rewatch it with an open mind to why they combined/altered the story elements they did. The writers clearly understand this world and the story the OG was trying to tell.

[eventide-paradox]

Question about your operation ichor faction , do they go hunting for twisteds or try to actively kill them?If they see like a normal toon who is injured what would they do? If they see a toon almost taking out a twisted would they do the supervillain thing of taking it down with one swing and going 'pathetic' , these are the real questions!!! Feel free to provide more info about them

Alright! Rubs hands together and laughs evilly /silly The Marauders division of the Mechanists do actively go hunting for Twisteds, in expeditions known as 'culling runs'. If the Mechanists see an injured Toon in their territory, what they'll do really depends on the extent of the Toon's injuries. If it's a minor injury, they're obviously not going to do anything unless that Toon is hostile. However, if the injury is major, they'll be taken into the Complex, and patched up there. On some occasions, if the Toon is on the verge of death, they'll implant them with cybernetic parts in order to save them, but this doesn't happen often- in fact, as of now, it's only happened to one Toon... The final question: would they do the Supervillain Thing(tm)? The answer to that question depends on which Mechanist it is, honestly. I'm sure plenty of them would love to pull a maneuver like that- Feel free to send in more questions! I love yapping about these guys!

[mtg-cards-hourly]

Ashnod, Flesh Mechanist

Artist: Howard Lyon TCG Player Link Scryfall Link EDHREC Link

[pollokeiser2]

FUCK YEAH!!!!

[selfish-solace]

these are my official thoughts on hit fallout 4 dlc "automatron"