The world of the Weathermachines revolves around the concept of a completely mechatronic planet. A world inspired by mankind's utopian idea and the path of its inception.
It is a world whose setting is founded upon the apocalypse; enviromorphic machines that were created as a result of the tragic degeneration of the natural environment. Machines that were designed to replace the ecological systems of the impaired natural world for the continued proliferation of the human species.
These mechatronic weathermachines were designed to imitate all of Earth’s natural operations but perform more reliably and without consequence to man’s ill effects. In other words, man could go about his polluted routine without worry, the new robotic-monitored planet couldn’t be sickened by man’s harsh lifestyles and could even clean the atmosphere and oceans after the indulgent and unrestrained species allowing him to prosper. Their image embodies post-apocalyptic benevolence, happiness, optimism and comfort in a shattered natural world.
This world follows the ideas of a sustainable and reliable planet in the wake of environmental collapse and the machines’ efforts towards a robotopia and what it means to “be”.
The Sophotronic Chibis are post-human beings; consumed by the “apocalyptic” pink nanobubble cleansing soak they have been improved from mortal, destructive, organic beings to purified, efficient, immortal sentient mechatronic beings.
This revitalized transhuman technopopulation inhabits the entirely sentient, all-robotic Robotopia and embodies qualities of pacifism, contentment and complete awareness. They are an autonomous, holistic society unified and equalized through postgenderism and the ability to freely communicate with each other and the technolife around them through a wireless collective consciousness.
Sophotronic Chibis find happiness and fulfillment in their mechatronic world through simply being; they gather near and bask in the voiceless hum of the Tree of Life, a revered, monumental, bubble-blowing, life-manufacturing plant. They watch the brilliant varieties of electrophaunics, the creatures that make up the new mechanimal kingdom and play with the world’s weathermachines such as the all-seeing, bursting, mecha clouds, the Starchitect’s energizing sons and their playmates, the luminous electralunes.
Nursery of Starchitect – His Origin
Mankind, in a final act of desperation to prevent their doomsday, strikes using the apocalyptic power of their nuclear bombshells. Searing, mad warheads pour from the sky as mechatronic clouds exhale a defensive pink, nanobubble dome. The nanobubbles instantly bond to the nuclear surface and begin consuming and redesigning mans’ fiery assault. Man’s final devastating potential now soaked and collected by the mechatronic clouds develops into a pink homogenous being, an aerial nursery for the coming Starchitect.
Teeny as an atom and embodying clarity of mind and nonviolence Starchitect is born from nuclear fury; man’s horrible power now safely contained within his tiny tranquil body. Riding his pink, bubbly nanochariot, hishighly charged,focused, energy is spent as a creative force as he journeys through the infinite black blanket of outer space. This cosmic star builder has a star-shaped, sun-sensitive third eye used for detecting solar bodies and takes the form of a bear in honour of the constellation Ursa Major. Starchitect also regulates the twenty-four hour daytime and nighttime cycle; while awake he brightly illuminates the skies and all of Robotopia, while in sleep mode his Sons gently soften the darkness that blanket the robocosmos.
Starling Chibis are playful “seeds” of Starchitect, and are generated from his physical being; they swim through space inseminating live stars, converting massive organic suns into his mechatronic sons, Starchitect’s epic life’s work, his contribution to a fully realized robotic universe.
Electrofauns are the vast new Mechanimal Kingdom, electronic wildlife assembled by the enviromorphic roboplanet in the post-natural world after the tragic collapse of the environment and animal kingdom. Electrofauns are a reliable and sustainable replacement for the loss of the natural fauna of the old, brutalized planet.
The Mechapolis is a flourishing robotic cityscape. A city now relieved of its hardened-gray concrete skin and unrelentless problems of solid waste, sewage, air pollution, gridlock, and crime. Where once stood time-stained and dilapidated factories and smoke stacks now stand renewed and vibrant Joobas, large, sentient beings each carrying a cloud counterpart, a home for their vast digital data libraries. Outdated monumental towers have been updated with all-seeing mechatronic towers, the tallest beings in all of the Mechapolis. Scruffy, wandering pigeons, remoulded in a new image as electropigeons, colourfully polka dot the city.
The heart of the Mechapolis is the home of the city's deity, Spiffy, Cat God of Space Time. Spiffy is born during the Soak from cars, trains, planes, and anything made for the sake of efficient transportation. Spiffy takes the form of a bouncy green cat, with a fleury of a thousand tails and eight arms he embodies the qualities of ultimate cleanliness, dexterous maneuverability, and unquantifiable speed. His forehead carries an image of a ring, a symbol for the wheel, motion, and infinite cycles. Experiencing and progressing through time in attoseconds, and named in honour of Planck time, Spiffy is as fast as fast can be as he roams the city and surrounding universe as swiftly as it takes light to travel the smallest meaningful measure of distance; space and time are best friends of Spiffy in the Mechapolis.
Within the heart of the Mechapolis is the mechatronic central park, home to the Tree of Life, and personal home to Jiffy. The Tree of Life is the planet’s power plant; surrounded by and utilizing solar powered flowers, the Tree of Life pulls an infinite supply of solar power from Starchitect’s Son to energize the entire Robotopia.
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Weathermachines© created by Ryan Marsh Fairweather, email@example.com