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moteltrogir · 3 years

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Kamalapur Railway Station in Dhaka

Architectural Optimism of Bangladesh

Saša Šimpraga, 2021.

Adnan Zillur Morshed is an architect and architectural historian with focus on history and theory of modern architecture and urbanism; global history; urban poverty and spatiality; water and architectural historiography; and ecological urbanism in developing countries. He received his Ph.D. and Master’s in architecture from MIT and completed his pre-doctoral studies at the Center for Advanced Study in the Visual Arts at the National Gallery of Art and postdoctoral under Verville Fellowship at the National Air and Space Museum in Washington, DC.

Morshed is the author of several books among other: Impossible Heights: Skyscrapers, Flight, and the Master Builder which examines the American fascination with the skyscraper and the airplane as part of a widely shared cultural phenomenon--the aesthetics of ascension--that characterized the interwar period. His books also include DAC, Dhaka through Twenty-Five Buildings.

He is a professor at the School of Architecture and Planning of the Catholic University of America in Washington, D.C.

Adnan Morshed is also involved with local and international intiatives on preservation of modernist architectural heritage of Bangladesh. We talk to him on the occasion of current international appeal to save the Kamalapur Railway Station in Dhaka from demolition.

SŠ: A gem of the Modern Movement in South Asia, The Kamalapur Railway Station in Dhaka, designed by Daniel Dunham and Robert Boughey in the 1960s is threatened due to the an urban expansion plan of the Dhaka Metro Rail's Line that includes its demolition and replacement by a new infrastructure, rather than its adaptation. What is the significance of the building and its current status?

Adnan Morshed: Kamalapur Railway Station is a rare modern train station in South Asia. It adopts an aesthetic vocabulary of tropical modernism for a public building in ways that have not been seen before in the region. The station’s modernist architecture breaks with colonial precedents both in the imperial center and on the subcontinent. In London, St. Pancras Station (1863–76) encapsulated modern values of mobility and exchange, while the Chhatrapati Shivaji Terminus (formerly Victoria Terminus; built in 1888 and now a UNESCO World Heritage) in Mumbai and Howrah Station (1906) in Kolkata functioned as symbols of imperial hegemony.

The histories of colonialism and train infrastructure are deeply intertwined in South Asia. In 1862, the Eastern Bengal Railway Company opened the first railway line in the region from which it took its name. Connecting Kolkata with the western Bangladeshi town of Kushtia, this expansion of train services signaled a new phase in the growth of East Bengal’s colonial economy. Due to geographical challenges posed by Bengal's deltaic terrain, the railway did not arrive in Dhaka until the following century, after the city’s economic profile had risen and it was subsequently made, in 1947, the provincial capital of then-East Pakistan. In 1958, the government approved the creation of a new railway depot, which was inaugurated a decade later as Kamalapur Railway Station. Not only was it one of the largest modern railway stations in South Asia, but it also embodied changing conceptions of modernity, from the bracing mobility of 19th-century railways to the soaring modernism that defined the 1960s.

Kamalapur Railway Station, Photo by Anik Sarker/ Wikipedia

SŠ: Also in danger of demolition is the Dhaka University Teacher-Student Center Building by Greek architect Constantinos Doxiadis (the mastermind behind planning the city of Islamabad) from early 1960s. The structure exemplifies a modernist architectural sensitivity toward spatial needs for tropical climatic conditions. TSC's dome-shaped structure with empty spaces around is considered an iconic landmark not only inside Dhaka Uiversity campus, but in the broader cityscape of Dhaka. How optimistic are you about its future? And what is the general status of modernist architectural heritage of Bangladesh?

Adnan Morshed: I am concerned about the mid-20th-century buildings in Bangladesh because of the ways the notion of development is taking precedence over environment, history, and, generally, human wellbeing. Many buildings are about to face the wrecking ball. These buildings include the Teacher-Student Center or TSC. Located at the historic heart of the University of Dhaka, TSC exemplifies a type of tropical modernism that blends local architectural traditions of space-making—particularly the indoor-outdoor continuum and generation of space around courtyards—with the abstract idiom of the International Style. The complex of buildings was designed by the Greek architect, planner, and theoretician Constantinos Apostolos Doxiadis (1913–1975) in the early 1960s. This was a turbulent time marked by conflicting currents of political tension and architectural optimism in what was then East Pakistan, now Bangladesh. On the one hand, the two wings of postcolonial Pakistan were at loggerheads because of the political domination of East Pakistan by the military junta based in West Pakistan. On the other hand, many architectural opportunities arose in East Pakistan, which benefitted from American technical assistance. The United States allied with Pakistan as part of its Cold War-era foreign policy to create a geostrategic buffer against the socialist milieu of the Soviet Union–India axis in South Asia. Under the purview of a technical assistance program, the United States Agency for International Development and the Ford Foundation provided support for building educational and civic institutions in East Pakistan. Since there was a dearth of experienced architects in East Pakistan, the government sought the services of American and European architects for a host of buildings that were constructed during the 1960s. Doxiadis was among them.

TSC, Photo by Fasiha Binte Zaman/ Wikipedia

TSC is also a demonstration of Doxiadis’s idea of ekistics, by which he meant an objective, comprehensive, and integrative approach to all principles and theories of human settlements. Criticizing the top-down planning model which he viewed as a central problem associated with modernism, Doxiadis employed the notion of ekistics to promote a multidisciplinary, inclusive, and bottom-up approach. He hoped that such a method would create a synergy of local and global influences, by which one could successfully meld a data-driven theorization of planning, universal values of harmonious living, and place-based cultural inflections.

In this vein, Doxiadis aligned the TSC’s ensemble of buildings on an east-west axis, to take advantage of the prevailing breeze from the south or north. The three-story Student Union Building features a “double roof” that minimizes heat gain by allowing cool breezes to pass in between the two canopies. The ingenious solution proved to be a trendsetting feature, but it was just one of the complex’s many innovations. Doxiadis covered the auditorium with a reinforced concrete parabolic vault, a pioneering construction technique that had yet to be tested in the country. Covered walkways, supported on steel columns, weave together the major buildings and green spaces, serving as the social spine of the entire complex. In the post-Independence period, TSC became the epicenter of political agitation within Bangladesh, serving as a backdrop to political demonstrations.

SŠ: Pioneer od modernist architecture in Bangladesh, Muzharul Islam, began hes career in the 1950s. Born in 1923, he went to study architecture in the United States, and then returned to Bangladesh. Along with his teacher Louis Kahn, he also brought Paul Rudolph and Stanley Tigerman to work in Bangladesh, and three of them came to be known as the American Trio. Apart from the Trio, it was Islam's style that dominated Bangladesh architecture from 1950s onwards. What is his legacy in architectural history of Dhaka?

Adnan Morshed: Not only was architect Muzharul Islam Bangladesh's pioneering modernist architect, he was also an activist designer who viewed architecture as an effective medium for social transformation. His early work shows how architecture was deeply embedded in post-Partition politics.

Consider his “master piece,” the Faculty of Fine Arts (1953-56) at Shahbagh in Dhaka. At first encounter, the building presents the image of an international-style building, with a quiet and dignified attention to the architectural demands of tropical Bengal. Closer inspection, however, hinders the Eurocentric tendency to measure the building's “modernity” exclusively through a “Western” lens. A host of nuanced architectural modulations and environmental adaptations reveals how Muzharul Islam's work cross-pollinates a humanising, modernist architectural language with conscious considerations of climatic needs and local building materials.

Faculty of Fine Arts, Photo by Rossi101/ Wikipedia

The literature on South Asian modern architecture usually identifies the Faculty of Fine Arts as the harbinger of a Bengali modernism, synthesising a modern architectural vocabulary with climate-responsive and site-conscious design programmes. What has not been examined in this iconic building is how Islam's work also provides a window into the ways his architectural experiments with modernist aesthetics were part of his inquiries into the ongoing politics of Bengali nationalist activism.

Muzharul Islam interpreted the prevailing political conditions in his homeland as a fateful conflict between the secular humanist ethos of Bengal and an alien Islamist identity imposed by the Urdu-speaking ruling class in West Pakistan. The turbulent politics in which he found himself influenced his worldview as well as his fledgling professional career. The young architect began his design career in a context of bitterly divided notions of national origin and destiny, and his architectural work would reflect this political debate. He felt the need to articulate his homeland's identity on ethno-cultural grounds, rather than on a supra-religious foundation, championed by West Pakistani power-wielders. Muzharul Islam's Faculty of Fine Arts embodied these beliefs.

With his iconoclastic building, Islam sought to achieve two distinctive goals. First, the building introduced the aesthetic tenets of modern architecture to East Pakistan. For many, its design signalled a radical break from the country's prevailing architectural language for civic buildings. These buildings were designed either in an architectural hybrid of Mughal and British colonial traditions, popularly known as Indo-Saracenic, or as utilitarian corridor-and-room building boxes, delivered by the provincial government's Department of Communications, Buildings, and Irrigation (CBI). The Faculty of Fine Arts was an unambiguous departure from the colonial-era Curzon Hall (1904–1908) at the Dhaka University, within walking distance of Islam's building, and the Holy Family Hospital (1953; now Holy Family Red Crescent Medical College Hospital).

Faculty of Fine Arts, Photo: Wikipedia

Second, the Faculty of Fine Arts' modernist minimalism—rejecting all ornamental references to Mughal and Indo-Saracenic architecture—was a conscious critique of the politicised version of Islam that had become a state apparatus for fashioning a particular religion-based image of postcolonial Pakistan. By abstracting his design through a modernist visual expression, Muzharul Islam sought to purge architecture of what he viewed as the political associations of instrumental religion.

SŠ: Internationally, perhaps the most known modernist structure in Bangladesh is the National Parliament Complex, designed by Louis Kahn and associates. Its construction began in 1964, in what is now known as the Decade of Development for Bangladesh and time when Dhaka was the second capital of Pakistan. When talking about architecture in general, Muzharul Islam stated that „practical aspects of architecture are measurable – such as, the practical requirements, climatic judgments, the advantages and limitations of the site etc. – but the humanistic aspects are not measurable.“ Those aspects come when the architect leaves and building starts its life. How did that highly acclaimed complex came to be a part of the national identity and how its architecture influences culture in a broader sence?

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

Adnan Morshed: The American architect Louis Isadore Kahn's Parliament building in Dhaka is considered one of the architectural icons of the twentieth century. Intriguingly, Kahn was not the first choice for the project. After two masters, Le Corbusier and Alvar Aalto, had turned down the invitation from the government of Pakistan, the megaproject went to the architect from Philadelphia. After multiple design iterations and many bureaucratic entanglements, the construction of the Parliament building began in October 1964, at Sher-e-Bangla Nagar.

Kahn first visited Dhaka in early March of 1963, after he had received the commission to plan the Parliament complex of East Pakistan. Five years earlier, the commander-in-chief of the Pakistani army, Mohammad Ayub Khan, took control of the government through a military coup and imposed martial law in October 1958. In 1960, the military man was “elected” to a five-year presidency. Pakistan's new constitution of 1962 called for a “democratic” election to be held in 1965. The decade of the 1960s was a politically tumultuous period in East Pakistan. Bengalis felt exploited and ignored by West Pakistan's military regime and, consequently, dreamed of independence from the doomed political geography of a nation with two units separated by over 1,000 miles. Aware of the political and economic disparity between the two halves of Pakistan and concerned about his own re-election bid, Ayub Khan's administration came up with a political strategy to mitigate the grievance of the Bengalis.

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

The idea of a “second capital” for East Pakistan was born in this context. This showcase capital would, it was hoped, “bind East Pakistan more firmly to the nation by conducting the nation's business for half of each year.” The political drama that ensued from then on explains how the Parliament building, first conceived as a “bribe” for the Bengalis, gradually took on a whole new identity as a symbol of the people's struggle for self-rule. With rudimentary construction tools and bamboo scaffolding tied with crude jute ropes, approximately 2,000 lungi-clad construction workers erected a monumental government building. Slowly but steadily, they unwittingly portrayed the broader resilience of a nation revolting against economic and social injustice. If the Shahid Minar symbolised the language movement during the 1950s, the Parliament building portrayed the rise of the independence-minded Bengalis during the 1960s.

Kahn searched for inspirations from the Bengal delta, its rivers, green pastoral, expansive landscape, raised homesteads, and land-water geography. Soon after he had first arrived in Dhaka, he went on a boat ride on the Buriganga River and sketched scenes to understand life in this tropical land. He didn't have any problems in blending Bengali vernacular impressions with those of classical Greco-Roman and Egyptian architecture he had studied during the 1950s. As the war broke out in 1971, Kahn's field office in East Pakistan quickly closed and construction work discontinued. During the liberation war, an ironic story persisted that Pakistani pilots didn't bomb the building assuming that it was a ruin! That “ruin” eventually became an emblem of the country, adorning national currency, stamps, rickshaw decorations, advertisements, official brochures, and so on. When it was more or less completed in 1983—more than a decade after East Pakistan (later Bangladesh) emerged as a new nation-state and 9 years after Kahn's unexpected death in New York City—the Parliament complex emblematised the political odyssey of a people to statehood.

National Parliament Complex in Dhaka, Photo: Yes, Louis Kahn

SŠ: Transformation of Dhaka today is intensive. What would be some of the significant architectural achievements in contemporary Dhaka and Bangladesh?

Adnan Morshed: The architectural scene in Bangladesh has been thriving with a “new” energy over the past two decades or so. Bangladeshi architects have been experimenting with form, material, aesthetics, and, most importantly, the idea of how architecture relates to history, society, and the land. Their various experiments bring to the fore a collective feeling that something has been going on in this crowded South Asian country. One is not quite sure about what drives this restless energy! Is it the growing economy? The rise of a new middle class with deeper pockets? Is it an aesthetic expression of a society in transition? Is it aesthetics meeting the politics of development?

Whatever it is, an engaged observer may call this an open-ended search for some kind of “local” modernity. Bangladeshi architects have been winning architectural accolades from around the world for a variety of architectural projects. High-profile national architectural competitions have created a new type of design entrepreneurship, yielding intriguing edifices. Architects have also been expanding the notion of architectural practice by engaging with low-income communities and producing cost-effective shelters for the disenfranchised. Traditionally trained to design stand-alone buildings, architects seem increasingly concerned with the challenges of creating liveable cities.

No doubt it is an exciting time in Bangladesh, architecturally speaking, even if the roads in the country's big cities are paralysed by traffic congestion and a pervasive atmosphere of urban chaos. In the midst of infernal urbanisation across the country, an architectural culture has been taking roots with both promises and perils, introducing contentious debates about its origin, nature, and future.

Architecturally, the 1980s was an interesting time, as divergent ideas began to permeate architectural thinking in the country. Three stories should be mentioned. An “avant-garde” architectural study group named Chetona (meaning awareness) sought to introduce critical thinking as an essential part of architectural practice. Many architects, senior and junior— disillusioned with the prevalent role of architecture as primarily a professional practice without broader social visions and engagement with history and culture—gravitated toward Chetona, meeting at Muzharul Islam's architectural office, Bastukalabid, at Poribagh. The iconoclasm of the study group revolved around reading critical writings in architecture, criticism of current methods of architectural pedagogy, and reasoned questioning of architecture as a technical discipline. The group's reading list ranged from Rabindranath Tagore to the Franco-Swiss architect Le Corbusier to the Norwegian architectural theorist Christian Norberg-Schulz.

The influence of the Aga Khan Award for Architecture (AKAA), an architectural prize established by Aga Khan IV in 1977, was also felt strongly during the 1980s. The award sought to champion regional, place-based and culture-sensitive architectural impetuses in Islamic societies. Awardees included projects in contemporary design, social housing, community development, restoration, adaptive reuse, and landscape design. Architects were inspired to look for a “spirit of place.” Regionalism was in vogue.

The Aga Khan Award for Architecture's flagship magazine, Mimar: Architecture in Development, first published in 1981, influenced many Bangladeshi architects and architecture students in thinking beyond western modernism and the aesthetic conventions it allegedly created. At its inception, Mimar was the sole international architecture magazine focusing on architecture in the developing world. In many ways, the magazine's celebration of “local” expanded the scope of architectural practice in the country and gave rise to new aspirations among architects, who were willing to search for organic roots in architecture.

Bait Ur Rouf Mosque in Dhaka by Marina Tabassum, 2016 Aga Khan Award Recipient

The new architectural aspirations coincided with the rapid urbanisation of Bangladesh and the rise of an urban middle class that spawned a flourishing culture of architectural patronage. A historically agrarian country, Bangladesh began to urbanise rapidly from the late 1980s. The country's total urban population rose from a modest 7.7 percent in 1970 to 31.1 percent in 2010. Impoverished rural migrants began to flock to major cities, particularly the capital, Dhaka, in search of employment and better lives. Its population skyrocketed from 1.8 million in 1974 to more than 6 million in 1991 and to nearly 18 million today. The capital city's massive population boom created an unsustainable demand on urban land, and in return, land values increased.

During this transitional period, real estate developers emerged as powerful economic actors in Dhaka and beyond, playing a key role in replacing traditional single-family houses with multi-story apartment complexes. Meanwhile, public-sector housing failed to meet the demand, and in this vacuum, private real estate companies flourished rapidly. As private developers became key actors in the city's housing market, a trade association was needed to regulate the real estate sector and to ensure fair competition among its members. The stratospheric rise of private real-estate developers suggested that there was a robust market for high-density, multifamily apartments, even though affordability remained a major hurdle. Many architects experimented with material, form, spatial organisation, construction, aesthetic expression, and the individual plot's urban relationship to the neighbourhood.

A burgeoning class of urban entrepreneurs—who made their fortunes in the country's export-oriented ready-made garments industry, manufacturing and transportation sectors, construction industry, and consumer market—emerged as a new generation of architectural patrons, investing hefty amounts of money to build their signature single-family houses and other projects, including apartment complexes, hospitals, shopping malls, private schools and universities, factories, spaces of worship, etc.

And, happily, architects began to find work abundantly from the mid-1990s. Design consultancy until the early 1990s was limited to a handful of architectural firms. But soon thereafter new, smaller firms, run by younger architects, began to reshape the traditional methods of architectural design practice in the country.

The liberalisation of the market, the emergence of a strong private sector, and rapid urbanisation resulted in the need for a range of building typologies and related architectural design services. In the public sector, government organisations began to evaluate the social and commercial value of aesthetic expression and hired architectural firms to compete in the building market. All of these developments ushered in a vibrant and dynamic opportunity for architectural experiments. The last two decades in Bangladesh witnessed an intense battle of architectural ideas. The earlier attitudes to orthodox modernism or regionalism in architecture dispersed into a more nuanced landscape of aesthetic abstraction.

SŠ: „For most of modern history, cities grew out of wealth. Even in more recently developed countries, such as China and Korea, the flight towards cities has largely been in line with income growth. But recent decades have brought a global trend for “poor-country urbanisation”, in the words of Harvard University economist Edward Glaeser, with the proliferation of low-income megacities.“ Dhaka is an example of such a city that has outpaced develepoment and has grown tremendously. Can planned urbanisation even tackle such a huge task in given circumstaces?

Adnan Morshed: While architecture rose and prospered as individual plot-based or stand-alone practices, cities—Dhaka as a glaring example—as a whole descended into unbearable chaos. In extreme cases, Taj Mahals coexisted with overflowing dumpsters. Private oases and sumptuous cafes overlooked the ghettoised world of slums. While architects searched for Bengali roots and global gravitas in their work, they mostly failed to promote an “ethical” view of how city should function and treat all its citizens.

While globalisation went on with a cutthroat consumerist and neoliberal agenda, and architecture patronage benefitting from it, social inequality grew manifold. Architects seemed confused as to how architecture could or should also play mitigating roles in addressing the issues of social justice. Slums burned and architects rushed to the site with naïve, superficial aesthetic solutions without trying to understand the exploitative economic and political systems that blight society in the first place. The feeling that “architecture is great but the city rots” sometimes seems overwhelming.

Walking in some of Dhaka's walkable streets fronted with exclusive-looking buildings, an observer might wonder how architecture could showcase the rising stature of a developing country, while failing to play a role in making it socially just.

In Croatian: https://vizkultura.hr/intervju-adnan-morshed/

Projekt Motel Trogir u 2021. godini podržan je od Ministarstva kulture i medija Republike Hrvatske i Zaklade Kultura nova.

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livingcorner · 3 years

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Hatton Garden Heist leader ‘found sick pics of Tory child abuser’ in 1971 raid

Hatton Gardens heist boss Brian Reader was horrified when his gang broke into a bank vault and found sickening photos of a leading politician abusing children.

But the notorious crook was shocked further when the thieves left the pictures for police to find – only for the Tory Cabinet minister’s crimes to be hushed up.

You're reading: Hatton Garden Heist leader ‘found sick pics of Tory child abuser’ in 1971 raid

Reader, known as The Guv’nor, is facing jail for planning last year’s £14million Hatton Garden raid and claims about his previous high-profile break-in can now be revealed for the first time.

Lloyds Bank on the corner of Baker Street and Marylebone Road, London where the vault of the bank holding safe deposit boxes was broken into on the night of 11 September 1971 (

Image: Mirrorpix)

The images are said to have been found stashed in a safety deposit box in 1971 when the gang tunnelled into a branch of Lloyds in Baker Street, Central London, and escaped with a £3million haul.

A close confidant of 76-year-old career criminal Reader said: “It was a shock for them when they found photographs of a famous politician abusing children.

“The gang were disgusted and left them lying on the floor of the vault for the police to find but nothing was ever done.”

Daniel Mays Jason Statham in 2008 movie The Bank Job, which was based on the 1971 raid

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The Government of the time allegedly forced the press to stop reporting on the burglary as a matter of national security amid allegations raunchy photos of the late Princess Margaret were found in another safety deposit box in the vault.

But the latest claims, revealed to the Daily Mirror, are more disturbing and further evidence of the Establishment cover-up of powerful paedophiles.

We are not naming the politician, who has since died and was never publicly linked to allegations of child sexual abuse.

Read more: What Is A Victory Garden – Learn How To Start A Victory Garden

But we have passed details to the Independent Inquiry into Child Sexual Abuse, which is set to examine claims against Labour peer Lord Janner, who died before facing trial for child sexual abuse, and Lib Dem MP Cyril Smith, whose paedophilia was exposed after his death.

Inquiry chairman Judge Goddard said in November: “We will conduct an objective fact-finding inquiry into allegations of abuse by people of public prominence associated with Westminster.

Princess Margaret and Lord Snowdon Antony Armstrong Jones (

Image: Mirrorpix)

“The investigation will focus on high-profile allegations of child sexual abuse involving current or former Members of Parliament, senior civil servants, Government advisers, and members of the intelligence and security agencies.

“It will consider allegations of cover-up and conspiracy and will review the adequacy of law enforcement responses to these allegations.”

If the images found by Reader had been made public at the time, it would have caused a massive political scandal.

In 1971, he was beginning a criminal career spanning five decades which would involve him in raids worth more than £150million and make him Britain’s biggest thief.

His gang had spent months planning the Baker Street job.

They rented a leather goods shop, two doors up from the bank, and then tunnelled 40ft from the shop basement into the vaults.

Brian Reader and his late wife Lynne having dinner with friends in Paris in 1970

Once inside, they ransacked 268 safety deposit boxes – nearly four times the 73 opened by the Hatton Garden gang.

The source said: “Brian was not well when he did Baker Street because he was only a few months out of hospital after falling on his head on another job.

“But he has great stamina and wasn’t going to miss the chance of pulling off Britain’s biggest ever burglary.”

The raid remains the largest in British history despite claims Hatton Garden was larger.

In today’s money the £3million stolen would be equivalent to about £41million.

Four men were convicted of the crime, including photographer Tony Gavin, and were jailed for up to 12 years, but Reader escaped prosecution.

Brian Reader who had pleaded guilty to conspiracy to commit burglary over the raid at Hatton Garden Safety Deposit (

Image: Getty)

A second source, a gang member, previously told the Mirror in 2008 that child pornography was found in the vaults but did not give further details.

He said: “We were disgusted and left it in their open boxes so police could trace the owners.

We didn’t want to take anything that might give us extra trouble. All we wanted was cash and jewels.”

At the time of the raid, Princess Margaret’s marriage to Antony Armstrong-Jones, Earl of Snowdon, was in its final stages.

In the 60s and 70s the Queen’s sister was known to party hard on the Caribbean island of Mustique, where she was pictured with lover Roddy Llewellyn, a landscape gardener 17 years her junior.

Read more: The 13 Best Ways to Utilize Chili Peppers • The Chili Life

‘Basil’ on the second floor at Hatton Garden on day one of the robbery (

Image: PA)

She is said to have taken snaps of male friends frolicking naked but it is not known if any were ever taken of her.

The ex-raider would only say: “I can’t talk about that.”

Describing preparations for the break-in, the crook added: “Before we got started, myself and an accomplice dressed up in bowler hats and pinstripes and went into the bank.

“We were able to measure out the distance from the wall to the vault using an umbrella so we could calculate how far we needed to tunnel and didn’t end up popping up in the wrong place.”

Killer Michael X (

Image: Getty)

They tunnelled under the Chicken Inn restaurant next to the bank and used explosives to blast through 3ft of reinforced concrete.

The concrete was not wired to the alarm system as it was thought to be impenetrable. Eight tons of rubble were excavated and left behind.

The raider said: “When we finally came up I was unable to fit through the hole and could only stick my head in. But others got in and grabbed the boxes.”

Reader was too sick to help with the drilling but was among those who got into the vault to force open the boxes.

The first source said: “He was very good at opening them and soon the vault was piled high with empty boxes.”

One of the boxes belonged to Michael X, a drug dealer and Black Power leader who was convicted of murder and hanged in Trinidad in 1975.

The story of the break-in was made into 2008 film The Bank Job, starring Jason Statham and Daniel Mays.

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Source: https://livingcorner.com.au Category: Garden

source https://livingcorner.com.au/hatton-garden-heist-leader-found-sick-pics-of-tory-child-abuser-in-1971-raid/

#livingcornernews

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gaming-thoughts-by-an-idiot · 3 years

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Fallout 76

Enemy: you cant hide forever!

Me: I'm not hiding, I'm just existing in secret

Grahm: dont worry! I wont eat you!

Me: technically that's called cannibalism

"Oh god, it's a herd of eyebots"

"Oh damn, oh god, there's two level 400 near me, plz dont kill me for this workshop please please.... oh thank god goodbye"

"Molewoman, show me the goods"

"Legendary module legit is just? I dont know, I have one how do I even"

"Gimmie the shit, gimmie the armour, I must sell"

"Why am I getting so many arms? I want torso!"

"God, I'm so addicted to the excavator maps, holy heck. Treasure hunt here I come!"

"Oh shit oh fuck"

"Not to quote Garrus from mass effect but... ENEMIES EVERYWHERE"

"Oh shit oh fuck oh god oh no help no no dont die I'm sorry"

"Oh, people hanging from trees... can I hang with u guys? Wah wah"

"Oh! It's my babies!! Hi!!! .... NOT MY BABIES NOT MY BABIES-- SCORCHED"

"I refuse to help you... ok that's a lot of caps, I will help you"

"Aries need to drink some milk with honey, your voice is shite"

Aries: IT WAS LONG AGO

Me: that doesn't answer my question?

"I cometh for youteth overseereth"

"What. Oh oh ok, loading screen, thanks"

"Scorched.. wait.. daily... HEY SCORCHED"

"I'm stealing all your shit overseer"

"Yes I'll do the photo, no I wont watch my babies"

"Oh... someone killed my molerats, thanks for completing an event for me"

"Show me the bones"

"Damn, someone bought my Halloween skull mask... you can find that so easy tho, but 5 caps is 5 caps"

"Yay thank you for buying things!"

"All I want is plans and ammo, please, I want fuel, sir please"

"Oh, I've been here before... oh no the person is looking at me, I'm just fixing some stuff here madame, ignore me"

"I cant find fuel anywhere and I have no oil"

"I'm experiencing a lot of emotions, and none of them are joy"

"This game makes you pay attention to your character eating and drinking, but irl we forget"

"Yeah no just take my workshop I dont care"

"Nonono dont come to me plz go away"

"Omg my pulse is so high rn, there's shooting and my workshop is being taken omg what if they try to kill me help"

"What the fuck?? Who killed my cow???"

"Why is my door unlocked!! I locked it???"

"Why, why why why?? What did someone see my cool masks and knew they couldnt have them or some shit??? Have happened before why not now? I hate players >:c"

"I'm gonna mod this gun and sell it, hope yall happy, it's just as cheap as the rest of my stuff"

"I have so many things worth 900 but ik nobody is gonna buy it so, here you lads go, 400 caps, take it or leave it"

"I have so many plans, I want more vendors"

"I'm a fruit hat kinda gal, except today, today I'm upset and death mask I will wear"

"What am I doing again?"

"Right yeah ok sure build shit I'm here for you"

"I just updated my vault to say 'hello gamertag I want to play a game' with a fucking bathtub under and I'm just beyond dead"

#gaming #fallout 76

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sp00ks-odyssey · 4 years

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A list of songs I like

A list of my favorite songs so you can know me better: 1. 123 Slaughter me street song By DAGames 2. 3OH!3 Bang bang (FROM THE VAULTS) 3. Why Love me - by Skyper 4. Aftermath - Go To Sleep (Hush Now Quiet Now Remix) 5. Aha! - Pentatonix 6. Angel with a shotgun by The Cab 7. ANIMALS by Maroon 5 8. Anti-Gravity By RUNAGROUND 9. Asking for it - Bye Shinedown 10. Aviators - Jaws (Five Nights at Freddy's Song) 11. AViVA - GRRRLS 12. Azazal & Said - I Said Meow (This is dubstep) 13. Backstreet Boys - I want it that way (Yes I love this song XD) 14. Bad Wolves - Zombie 15. Barnacle Boi - Don't Dwell (bass boosted) (There is only one word spoken the whole time and it makes me cry every time I listen to it I don't know why) 16. BAWITADABA - BY KID ROCK 17. Benny - Little Game 18. Breaking Benjamin - Dance with The Devil 19. Breaking Benjamin - I will not Bow 20. BTS - Dope 21. BTS - Not today 22. Capture the Crown - In My Head (A rock version of the original by Jason Derulo I love the original as well) 23. Centuries - By Fall Out Boy 24. Vocaloid Childish War (An au Sans Version I found) 25. Chopsticks Brothers - Little Apple 26. Classic - MKTO 27. Cooler than me - Mike Posner 28. Courtsey Call - By Thousand Foot Krutch 29. Da Games - Break my Mind (Fnaf 4 song) 30. Daughtry - Traitor 31. Demons - Imagine Dragons 32. DETECTIVE PIKACHU ( BASS HOUSE REMIX) 33. DJ Got Us Falling in Love - Usher (I love this song I hate the parody X( 34. Colors of the Rainbow - By ItaloBrothers 35. Doki Doki Literature Club Song Insanity - By Dolvondo {ft Chi chi} 36. Doubt - Twenty One Pilots 37. Dream Sans Sings - Legends Never Die (I love this version better than the original) 38. Drop pop Candy - English version 39. Eiffel 65 - I'm Blue 40. Error Sans sings Tell me Another (This is better than the original sorry Rockit Gaming XD) 41. Evanescence - My immortal (I love the original but I also love the male version I found) 42. Evans Blue This Time It's Different 43. Fan Girl - Ghost Town 44. Fire Burning - Sean Kingston (yes this is still around and yes I love it still XD) 45. Flo Rida - Low Ft. T-Pain (Radio Edit) The censored version :D 47. Flo Rida - Welcome to My house 48. Evanescence - Imaginary (I love the original but I found a male version that's beautiful) 49. FNAF Original Song - SharaX - Lockdown (there are more fnaf ones but let's not overflow with fnaf songs on this XD) 50. For your Entertainment - Adam Lambert 51. Gangam Style - PSY (YEs i still listen to this XD) 52. Give me Everything - Pitbull 53. Green Day - Boulevard of Broken Dreams 54. Gumi - CopyCat 55. Hat Trick - Jonathan Thulin ft. Derek Minor 56. How Do You Love Someone - Nightcore Male version 57. Zero - By Varsity Club 58. Your'e so Creepy - By GhostTown 59. I Hate Everything About You - Three Days Grace 60. Ink Sans sings-Nightcore Butterflies (This is the best song I love this version) 61. Ink VS Error Sing Fight For Your Life - (Original song is by Simon Curtis but this version is mwah~) 62. iNSaNiTY - Vocaloid (Not the english one I love the none english one) 63. Jason Derulo - The Other Side 64. Jet Pack Blues - Fall Out Boy 65. Numb - By Lincoln Park 66. Karma - CircusP feat. Eyeris (Male version) 67. Killer - By The Ready Set 68. Lamb. GARDNiDELiA (This is a good Vocaloid) 69. The Living Tombstone - Grim Grinning Ghosts 70. The Living Tombstone - Spooky Scary Skeletons 71. Love Again - Pentatonix 72. Losing My Mind by Mystery Skulls 73. Manic Drive - Mic Drop 74. Maroon 5 - One More Night 75. Red - Let It Burn 76. Red - Hold Me Now 77. Cake By Melanie Martinez 78. My Demons - Starset 79. Nightcore 16 Shots (Male version) 80. NIghtcore - Anxiety (Deeper voice) I love the nightcore males as you can tell 81. Nightcore Male - I'm a Mess 82. Nightcore - Marionette (Male Version) 83. Nightcore - Monster (Male Version Gumi) 84. Nightcore - Pretty Little Psycho (Male Version) 85. Nightcore - Replay (male Version) 86. Nightcore - Rewrite the Stars (Male Version) 87. Nightcore - Rollercoaster (Male Version) 88. Nightcore - Things I'll never Say (Male Version) 89. Nightcore - Unconditionally (Male Version) 90. Nightcore - Truth or Dare (Male version) 91. Owl City - Fireflies 92. Owl City - Shooting Star 93. Pitbull ft. T-pain - Hey Baby (Drop it too the floor) 94. Pain - Three Days Grace 95. Rixton - Me and My Broken Heart 96. Scream -Usher 97. Yeah - Usher 98. The Script - Hall Of Fame 99. SharaX - Renegade (Sans + Papyrus character cover) 100. SharaX - Tick Tock (Vocal Cover) Chance Melt 101. SIAMES - The Wolf 102. Skillet - Awake and Alive, Comatose, Falling inside the Black, Feel Invincible, The resistance, Whispers in the Dark, and Monster) 103. Starset - Point of no Return , it has Begun 104. Super Junior - SORRY SORRY (This group is almost as good as BTS) 105. Take it Out On Me - Thousand Foot Krutch 106. War of Change - Thousand Foot Krutch 107. Three days Grace - Fallen Angel 108. Three Days Grace - Time of Dying 109. TULE - Fearless (fearless meme) 110. UndertaleClose to you - Sans (voice) this is beautiful when you find the right one 111. Flowerfell Secret Garden (This song is beautiful and makes me cry) 112. Usher - More 113. Walk the Moon - Shut Up and Dance with Me 114. Whataya Want From Me - Adam Lambert

#i hate country music can't stand it #i don't like alot of the new ones #these are what I like

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bloody-fists-beating-hearts · 5 years

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It’s a Fallout76/Bethesda rant

Bethesda just released Fallout 1st, a horseshit pay-to-win subscription system for their absolute cum-bubble of a game, and while it’s getting the flack it deserves there are people already putting on their kneepads so they can gobble down Todd Howards entire turgid cock, and as someone who likes rpg’s way too much this irked me, so have a massive and barely coherent rant i took off the discord because why not.

I want to start off with this: Every good thing about current fallout comes from the fanbase. The stories people tell, the headcanons, the fanfics, the art, everything fans do for it is made with more love, and more thought, than anything Bethesda’s writing and games design team has done in the last 10 years

Now first of all, I haven’t bought or played 76. People are gonna stop me right there and go ”well you haven’t bought it how would you know its bad!!” yeah, I’ve never eaten dog shit either but I can pretty well guess that I ain’t gonna fucking like it.

I knew the second he said "there are no npcs" with actual enthusiasm that this game was gonna be shit. And if you give me 2 seconds to gloat, I never bought the game and I knew this was gonna happen and I was RIGHT so suck my fat hairy nuts all those fanboys who pre-order things mindlessly just because there's a brand name attached to it. If there is anything you take from this its DO NOT PREORDER. BRAND LOYALTY IS FOR BOOMERS AND BOOTLICKERS. FOR FUCKS SAKE BE SMART WITH YOUR MONEY.

Games like this are fucking 80-90 dollars or more in Australia so I actually have to think about whether this momentary distraction is worth almost an entire days paycheck, and I’m still looking for employment which means I actually haven’t bought shit in a while (side note, anyone wants to commission me for 10 dollars I’ll draw damn near anything. God I need to make rent)

Every executive at Bethesda seems to be playing catch-up to EA's monetisation scheme. Beth has abandoned their model of single-player rpg's in favour of a "games as a service" model. Fallout 76 seems to me like its a weird experiment for just how far they can stretch this and still make money. It actually makes me wonder if they are

a) just completely unaware of fanbase response [no idea HOW]

b) are running into financial problems and are doing this out of desperation

c) todd howard is still mad that obsidian made a better fallout than he ever could and he's doing this out of spite

Games as a whole has become much like the movie industry where publishers will throw big buckets of cash around to development teams, and those teams have CEO's and higher ups that throw lavish meet n greets and have nice fancy suits and cars and then treat their development teams like shit, overworking them to the point of exhaustion, because the product has to be on time for release dates that are scheduled to be the most profitable (christmas is a notable one).

And those products are consistently bland, shitty, shallow experiences. Narrative cum-dumpsters that are purposefully made to toe the line as safely as possible, to be open to as wide as an audience as possible so they can make the most money, and Bethesda is a huge offender. Skyrim was fun, sure, but it was watered down to fuck, it had shitty dialogue, it had bland one-note characters, it had a simplified skill system. It was impossible to lose. Seriously, try and fail a fucking quest in skyrim, other than one or two, it's a hand-holder of an rpg, but it has a huge community of fans that put in monumental effort, for free, because they like the Elder Scrolls, and they like the world bethesda made.

Then Bethesda goes "hey, that watered down thing we made got huge! lets release it about 12 more fucking times, with some of the SAME bugs, with the SAME content, with the SAME limitations and Yes, we absolutely expect you to pay for it, again. Then they release the remastered edition which, to their credit, is free to anyone who already bought the legendary edition (on PC), and does actually have updated 64bit capability and some graphical enhancements (that aren't anywhere near what some goober in his basement cooked up in his spare time, but whatever). Then, seeing that Skyrim was so popular, with kids especially, and made money, they turn their sights to fallout 4, a game that was so anticipated that someone made a fake countdown and caused a small meltdown on tumblr/social media when it was revealed to be fake (i was part of that fiasco, i remember the hype, i was there goddamnit)

So Fallout, a franchise that literally has its theme as its FUCKING TAGLINE, an ADULT game that is equal parts crude, gory and humorous. A game that satirises the cold war era of american my-country-tis-of-thee blind loyalty and openly mocks the way war was idealised, and shows that not even the literal end of the world could either stop humanity's lust for blood or its desire for conquest. Games that showed you the growth of the world - from shady sands to the NCR, from the vault dweller to arroyo, shit actually happened in the games, the world didn't just stop turning when the bombs dropped. A game where you you become a porn star for fucks sake, and it's funny.

So Bethesda sees that, makes something like it (fallout 3) which is good, but a little rough around the edges when you look at it too hard. But the way they suck you into the vault, the way they build a relationship with your dad and your way of life is immersive as fuck, so when you leave the place you actually feel like you're leaving something important, not just finishing the tutorial

then they outsource a Fallout game to obsidian, because hey, we saved your franchise by buying it off you, but if you can make an entire game in one year and get a metacritic score of 85 we'll even throw in a bonus. And fuck me sideways and in the ear, if the obsidian devs didn't work themselves harder than a 4-armed hooker. And they made a game that on release was a clusterfuck of bugs, because they were given an unrealistic time limit and missed the metacritic score by ONE POINT so bethesda goes "nhey heh sucks to suck" and fucks them off the franchise forever. EXCEPT (and I admit I'm biased here) the game is good. The game is actually really good when you remove those bugs, and people start forming attachments to it, and mentioning how bad fallout 3's writing is by extension.

So Todd and Co. in his infinite wisdom, decide that the only thing a fallout rpg needs is 50s aesthetic and fuck all else, and he releases a game so watered down it can't even be called an rpg. And its not. There are no skills. There are barely any dialogue checks. Instead of dialogue, Nate/Nora is a flat, samrish individual that is either "yes sir right away sir may i have another", "yes but i'm gonna make an unfunny quip about it" "this option pretends to say no but its gonna give you the quest marker anyway".

The game drops any pretence of difficulty by giving you a deathclaw, a minigun and some power armour in the first 10 minutes, allowing you to effectively reach late-game power levels with some minor scavenging for ammo or cores. Then the game ropes you into some inter-faction war that realistically you wouldn't give a shit about, because some spud in a cowboy hat fucking deputizes you into a military general because you shot like 4 raiders from a rooftop (with a minigun. in power armour. making you nigh-invulnerable to bullets). You're sad about your son about 3 times the whole game and then you're on your merry way to mowing down humans left right and center without a care in the world. God fallout 4's writing is so stupid it gives me an aneurysm.

Remember the part about resources wars and america only having the veneer of a strong country while riots, inflation, and resource shortages tore it apart from within? Bethesda doesn't, have an eerily stepford pastel coloured glimpse at a world that was totally fine, nothing wrong here, shame it got nuked oh well moving on

Your spouse? yeah you love them, they're said 2 whole sentences to you then they died, be sad because you totally loved them and it is totally sad that they are dead. Your weird play-dough son shaun, you love him so much, you even tickled him on the chin once, okay he's gone off you go to chase him - woah now, don't chase him too hard we have all these side quests for you to do! What would be the narrative reasoning for a supposedly distraught parent to fuck around boston instead of finding their goddamn child? fuck knows! just go pick up some goddamn wood and get to base building sonny-jim!

Companions? yeah, they're fun, we gave them a romance questline and it's thus: if you pick enough locks and pass a minor charisma check maccready will be ready and willing to tell you about his sick child, and then he'll ride you like a stallion. Talk to him like, 4 times, and he will be your bosom buddy for life in about 3-5 days if you just pick locks like a fucking madman, because character growth is hard and counting beans is easy.

Also your son is a part of the faction we were talking about! something about synths, remember that one questline from rivet city that barely anyone actually remembers and was an interesting time waster at best? Well get ready to do that same quest but about! 15! more! times! because we could not think of anything else to write about synthetically produced humans that assume peoples identities other than having them as a hamfisted metaphor for slavery. Why do they take over people's identies? Well because the institute needs them to aasdkfjdh kshshshsh t9oe of course.

Speaking of hamfisted metaphors, here's the underground railroad, named after the underground railroad that actually mattered, except this time its the same thing but synths. They are so top secret that the only way to find them is to follow the only bright red line in a street that is exclusively green-brown otherwise, and then enter their super secret password, which is "password"

They are then, like every other faction, absolutely willing to trust you, at face value, no questions asked, because have to actually do something or require a skill check might make this hard for people under the age of 12 to play. Then you go do whatever fuckin shit you do, I stopped playing at this point, and then you find out your son is actually 60, you guys have a tearful, 10 sentence reunion, then he diesthe whole reason you were out here in the first place dies, and you react appropriately, which is to say you say his name really sadly, and then go back to mowing down raiders with reckless abandon

And then 76 gets released, bethesda drops all pretense of fallout still being an rpg. You want a story? Fuck you, pay up. Its retro future and thats all that makes falloutSatirizing war mongering? You can nuke things in this game and its totally fine, its actually the goal, because fallout has nukes in it right? Pay us 10 dollars and you get army olive drab spraypaint because hurrgh war is fun and great, wasnt that the tagline from the first game?The more i rant the more angry i am because people put their heart and soul into writing this. The lore and dialogue is actual work that someone researched and loved and felt proud of and now it's becoming a hilariously meta parody of itself.

Honestly FUCK bethesda and and fuck todd howard for his pisspoor cash grab. Not even worth calling it a video game anymore

#good lord what is happening in there #meta #listen i fucking love fallout #but this aint fuckin it chief #fallout #fallout 4 #fallout 76 #fallout 3 #fallout new vegas

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fallout76rp · 5 years

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Synchromystica Roleplay on Fallout 76 has just evolved a new layer of storytelling for our sprawling, ongoing narrative.

Text-based roleplay, Wasteland RP, has now activate on our Fallout 76 Roleplay Discord server! We’re communicating through prose paragraphs!

Click her to read or join in!

At the bloody horror that is Bolton Greens, a teen rises from beneath a pile of dead bodies…

In small and festive town of Helvetia, a strangely dressed robot realizes it has new dreams…

And in a place that we shall not yet name, Clarissa Kubrick draws her gun…

Meanwhile, back at Whitespring…

Voice of Robot Carla from Cheers: “Wasteland RP is filmed before a live studio audience.”

A roll of thunder in the distance became the echoing footsteps of the Enclave officers, in service of Empress Von Killchild. A circus of hooligans strode beside them, gathered by Von Killchild to fight alongside the Enclave as she spread her influence across the wasteland.

Tannin watched through freshly polished lenses as Officer Shoshana Pai strode at the lead, tightly uniformed. Von Killchild’s empire had see impossible victories as it spread across the lands, but with every victory came madness, and even from this distance, Tanen could see the madness spreading behind Shoshana’s face.

Shoshauna Pai has tried growing her hair in the atom bomb style of her Empress and Queen, but Von Killchild had taken offense, and burned Shoshana’s mushroom cloud off, right there on the spot.

The two uniformed officers just behind her were clearly feeling the intensity as well. One was older, smiling over gritting teeth. The other was younger, and appeared to be on a constant state of shock and terror.

But the slender man in the top hat, wearing red, was feeling none of that stress at all. He grinned a dark grin, as he reassured the lead officer about a situation Tanen could not hear the details of.

A man with a suit made American flags walked behind them, hands deep in his pockets. From the patriotic collar of that suit rose, snake-like, a head covered in black metal-threaded fabric, a marine tactical mask. His face had no mouth, and was featureless, but for the dark, reflective eyes, black-mirrored like crude oil.

The Patriot was whispering to a clown walking alongside them. As threatening and insane as this clown clearly was, he too was radiating calm, undisturbed by whatever situation was bothering the uniformed.

None of them bothered turning to even glance at Tannin as they strode past. None save the last, the one lurking furthest behind…

Dario Morton, alias Dario The Ghoulish…

The Ghoulish One’s mask was a massive twist of iron, beset with round, blood-red glass eyes that glared at Tannin like hot stars. His words arose from within the mask’s gaping grimace like a dead man rising from the grave.

Dario stared at the robot, stared into him… and then finally spoke.

“I have often wondered at the depths of the robot mind,” said Dario, “and I am wondering now at the depths of yours…” Dario’s arms hung limply at his side. “I feel that you might be hiding something from us, Tannin. Some secret… Do you hide it from Empress Von Killchild as well?”

Tannin spoke. “Security is our top priority.”

And Dario replied. “…indeed. Indeed… Perhaps I should drink with you sometime, Tannin. Perhaps I should drink with you at your bar, instead of alone, as I so often do. The things you and I have both seen over the years.... You and I have much to discuss, I imagine.”

Dario stared for long moment more... then turned as if on an axis, and continued after the rest of the Von Killchild’s servants, who were already descending the stairs ahead.

Tannin returned to his default position, removed a bottle of bourbon from below the bar, and started to pour.

A woman in a trench coat burst up beside him, like a molerat bursting from it’s hole.

Her eyes were bright, her mustache was fake, her sleeves went well past her hands, and she was ready to drink.

Her name was Jamie Spano.

“Holy crap, that was close,”

Tannin handed Jamie her glass, and a sudden confused scream rang out as a man she had just met that morning came tumbling from above the bar. He crashed hard into the ground, like he was his own Three Stooges movie.

“Balls!” the man shouted as he flailed about on the ground, struggling to regain his feet.

And once those feet were regained, so was his dignity, as he radiated that style of impossible charm that only the heavy set middle aged alcoholic can radiate, and asked Tannin for another pour.

“So we were just introducing ourselves when the dark side stormed by,” said Jamie.

“Yes, indeed Ms Spano.” He shot out his hand to shake hers. “Phoenix McGillicuddy, the Whitespring’s most outstanding and long-lasting human customer. I was here when the bombs went off and kind of faded into the background when the bots started kicking people off the property. Security is constantly trying to kill me, but the wait staff is beyond compare. Tannin and Bubbles are delightful. They mix a mean drink, and they haven’t ratted me out yet, so here I am, living in the walls like, well, like a rat, sort of. But a charming rat, like the kinds who sing, and drink bourbon.”

“All rats drink bourbon, Mister McGillicuddy, but we enjoy you anyways,” called Bubbles, the sassy and spherical, French-accented, lady Nuka-Cola bot running the soda fountain around the corner.

Tannin turned to Jamie. “Welcome to the Whitespring.”

“Thank you very much, Tannin,” Jamie said as she raised her glass, but suddenly they heard another door open, down the hall.

“Who’s that!?” Jamie and Phoenix exclaimed in unison.

To be continued...

*********

We plan on adding a second text-based roleplay setting in the coming weeks - Vault 76 RP. This will be dedicated to our time in Vault 76, and the mysterious events which took place there.

“Did you ever go all the way down in Vault 76? Down into the darkness?

“Do you remember?”

#fan fiction #fallout #fallout 76 #fallout roleplay #fanfic #roleplay #whitespring #tannin #vault 76 #fallout 76 roleplay #clarissa kubrick #text based adventure #text based

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