Ruins of Detroit [Yves Marchand & Romain Meffre Photography via Twitter]

United Artists Theater
Michigan Central Station
Farwell Building
Broderick Tower
Whitney Building
Bank Vault
Ballroom, Fort Wayne Hotel
East Methodist Church
Library
Fisher Body 21 Plant
Ballroom, Lee Plaza Hotel

shi jinsong gun shape baby carriage [designboom via Geekologie]

Gun Shape Baby Cradle
Gun Shape Baby Cradle
Gun Shape Stroller
Gun Shape Stroller
Gun Shape Baby Walker
Gun Shape Baby Walker

These were taken by photographer David Tribby, who has a sharp eye for images that turn decay into lovely transformation. Tribby has also collected these pictures and many more into a book called Gary Indiana: A City's Ruins. Or check out his photostream on Flickr.

Bathhouse, Gary, Indiana

Church Room, Methodist Church, Gary, Indiana

Classroom, Gary, Indiana

Freight Depot, Gary, Indiana

Gilroy Stadium, Gary, Indiana

Methodist Church, Gary, Indiana

Empty Room, Methodist Church, Gary, Indiana

Post Office, Gary, Indiana

Variety reports that Lionsgate is moving forward with The Panopticon, a spec script by Lost story editor Craig Rosenberg, who also penned the American version of the South Korean psychological horror film The Uninvited. Lionsgate has tapped The Haunting in Connecticut's Peter Cornwell to direct.

The elevator pitch is that a salesman receives a pre-recorded message from himself saying he is the only one who can prevent the impending apocalypse. But the script has been floating around fro a while, and FirstShowing's Ethan Anderton promises there's more to the movie than meets the eye:

Without ruining too much of the story (having read the script) the conflict comes from not knowing exactly who to trust as the "good guys," including the main character himself. Plenty of twists and turns make for an edge-of-your seat kind of experience that should make for some very fresh entertainment after it goes into production next year. A saving-the-world plotline might seem a bit heavy handed nowadays, but believe me, this is one of those stories that you'll want to keep untainted until it hits theaters.

Peter Cornwell Directing New Sci-Fi Thriller 'The Panopticon' [FirstShowing]

[Josh Keyes via Nerdcore]

The more immaculate of these malls evoke the nation of ghost malls Cory Doctorow imagines in his recent book Makers, or seem ripe for zombies. But the decaying images offer possible glimpses of America's eventual ruins.

Ghosts of Shopping Past [Morning News via Boing Boing]

JC Penney, Dixie Square Mall, 2009
Belz Factory Outlet Mall, 2009
Rolling Acres Mall 1, 2008
Columbus City Center, 2009
Dixie Square Mall, 2008
Kentucky Fried Chicken, 2009

Sugimoto's "The TV Show" is a feast for the eyes from the get-go, but watch all the way through to see its multiple realities bleed into one another.

An earlier video, "Full Moon Party," replays human history with furrier primates in the starring roles:

[via Metafilter]

Bender describes his collection of cleanly packaged, post-apocalyptic products as a comment on the way companies market to consumers and the eases with which buyers accept corporate messaging:

By presenting a fictitious worst-case scenario as genuine the Anarkon project questions the influence of corporate, branding and advertising power in a culture consumed by consumption. Its goal is to encourage citizens to examine their response to commercial messaging and to play a more active role in determining the limits of corporate power in American society.

Anarkon [okay beta via Lovely Package]

Learn To Make Fire.

In a post-apocalyptic scenario, you have to account for both short and long-term survival. Fire will be absolutely necessary in the short term. Have you ever watched one of those seasons of Survivor where one of the tribes can't figure out how to build a fire, and they don't win the flint for days and days? They can't cook their food or boil their water, and they fade fast, growing weak and ineffective until the producers take pity and slip them a Zippo when no one's looking. If you can't build a fire, you'll die. Learn to build fires in a variety of conditions, with a wide range of materials. Can you build one without dried grass? Can you build one when you're freezing cold and your hands won't stop shaking? Learn how, and practice it regularly. Of course, it never hurts to hedge your bets, and keep a supply of waterproof matches handy.

Build a Team.

I know you like to envision yourself as this awesome lone wolf bad-ass making your way through the wastelands with no one to depend on but your trusty shotgun, but the fact is you'll need friends after the apocalypse. It could be as simple as someone to stand guard so you aren't mugged or eaten by starving feral dogs while you sleep. You're going to need help, and you're going to want people you trust. You need to assemble your team long before the apocalypse happens. Make a list of friends and family who live nearby, then decide who you want with you. People with useful skills go to the top of the list (nunchuk skills don't count, but bow-hunting does). People with lots of children go to the bottom. Then make a plan and get your team in on it – if things go down suddenly, you won't all be in the same place, and there will likely be no way to communicate. Your plan should be simple, like: Step 1, get somewhere safe and wait out the worst of it; Step 2. Meet at the statue of Thomas Jefferson in Jefferson Square downtown, or better yet, your Uncle Jim's ranch 40 miles outside of town. Don't underestimate the benefits of having a plan – aside from its actual effectiveness, it gives you a goal to focus on, and that's been shown to be a factor is disaster survival.

Get a Gun. Learn to Use It.

I'm not a big fan of guns myself, but the reality is, any apocalypse is either going to caused by, or inevitably lead to resource shortages. Whether it's water, gasoline, food, or plague vaccines, there will be haves and have-nots. Some percentage of the have-nots are going to try to get what they need by force, and if you can't defend yourself, you're going to lose what you have (you're doing all this planning so you'll be a have, remember). There's another vital use for guns in a post-apocalyptic world, of course – hunting. We're all going to revert to hunter/gatherers for a little while at least. For this reason, a hunting rifle is a good idea. That's not a good weapon for close-quarters urban protection, however. For that, a shotgun is often the weapon of choice. Good thing you have a team.

Stockpile.

FEMA recommends one gallon of water per person per day, plus food. How many days can you possibly plan for? It really depends on your space and your plans. Do you have a shelter at your team's meeting place with a larger stockpile? Then a few weeks of water should be enough to get you through. You can never store enough drinking water, but obviously if you live in a 12th floor apartment, there's a limit. Don't forget a set of sturdy clothes and boots, a can opener, hand crank radios and flashlights, batteries, gasoline, and a fire extinguisher. Disaster survival experts offer a few other suggestions you might not expect: beer and cigarettes (they'll be the primary currency post-apocalypse), 3 mil. plastic bags (also known as contractor bags), duct tape (combine with contractor bags for water-resistant shelter or rain-water conduits), plus a few books and card games (you and your fellow survivors will eventually drive each other crazy without distractions).

Learn a Marketable Skill.

Once you've made it through the first few weeks, you'll eventually want to connect with other survivors, whether you're with your team or not. Any group trying to survive with limited resources is not going to accept new members unless they offer a net gain of some kind. No one's going to be impressed by your level 70 character in World of Warcraft, your discerning taste in wine or your extensive knowledge of 60s British Invasion bands (or your magnificent blogging skills, for that matter). Here are some suggested avocations to learn so you have something to offer the nascent post-apocalyptic society: small engine repair; emergency medical training; agriculture (emphasis on durable, high-yield crops); hunting/fishing; construction/carpentry; rigging/sailing (not so good in Kansas, but could be clutch in San Diego or Chicago). If all else fails, work out – no one's likely to turn down a strong back or a durable pair of legs.

Are You Ready? An In-Depth Guide to Citizen Preparedness. [FEMA]

"Not Your Ordinary Survival Checklist." Popular Mechanics, Oct. 2009.

[Steve McGhee via Super Punch]

Fearing a nuclear or other attack from the Soviet Union, Mao commissioned the construction of Dixia Cheng, which was built to hold restaurants, clinics, facilities for underground agriculture, and even a roller skating rink. Although the claim was never tested, the Chinese government claimed that Dixia Cheng could have housed Beijing's entire six million person population. Although some of the rooms and tunnels have been used for various purposes — public meeting spaces, government storage, hostels, a tourist attraction — but many of the tunnels have been boarded up or neglected. Still, some people apparently live in the portions of the tunnels not maintained by the government. Viceland visited some of the more neglected portions of the Dixia Cheng tunnels, and you can see more of the photos here.

[via Reddit]

It seems that once Roland Emmerich was done assembling all the CG components for destroying the world and gathering a full complement of "Hey, it's that guy!" actors, he realized 2012 had no script, and decided to cull characters and situations from every other disaster movie ever made. Despite its massive scale of destruction, 2012 will be familiar to anyone whose seen any movie about an earthquake, volcano, aquatic disaster, or celestial body striking the Earth.

2012 follows the parallel stories of several characters at the end of the world. John Cusack plays the sort of fellow John Cusack always plays, though this time he's also a struggling writer whose only novel sold roughly 400 copies. And Amanda Peet plays his Amanda Peet-esque ex-wife, who is dating a plastic surgeon named Gordon. Gordon is all kinds of perfect, adores Amanda, and is great with her kids, but of course she's only with him because she can't be with John Cusack. Oh, and John and Amanda (or Jackson and Kate Curtis as they've been named for the sake of the film) have perfectly generic children. There's the requisite daughter with a quirk (she's overly fond of hats) and the son who's mad at his father (and insists on calling him by his first name).

As it turns out, years earlier, an Indian scientist discovered that solar flares are causing mutant neutrinos to microwave the Earth's core, which will cause the tectonic plates to shift and the Earth's waters to boil (but somehow doesn't cause us humans to explode). He warns his friend and fellow scientist Adrian Helmsley (a blandly earnest Chiwetel Ejiofor), who in turn warns a Washington bureaucrat that the world is ending. World leaders are informed, contingency plans are made, precious art is stowed away, and important people mysteriously die. But the hoi polloi are left in the dark, and people in California gradually get used to the regular miniquakes and surface cracks that plague their streets.

After a chance encounter with a crackpot conspiracy nut (Woody Harrelson), and hearing rumblings of the aforementioned contingency plan, Jackson realizes just in the nick of time that the world is, in fact, ending. And through a mixture of superhuman feats and incredibly unlikely bouts of luck, puts his family on the path to safety.

Although 2012's main concern is Jackson and his family, the film shifts perspectives and introduces us to a range of characters, all straight from central casting: a stocky Russian billionaire, a trophy wife who loves her purse dog above all, a pair of horrid children who look like they should be touring Willy Wonka's factory, a world-weary and noble President, the beautiful and intelligent First Daughter, a young Tibetan monk, an interracial jazz duo. It's too few characters and too Western-centric to convey an epic scale, but too many for us to particularly care who lives and who dies. Caring is irrelevant anyway; following classic disaster movie tropes will give you a pretty accurate picture of who makes it to the end of the movie.

All in all, it's a very Hollywood view of how the world ends. With the exception of a few token minorities, it's American and European characters we're tracking, American and European high culture people are trying to save, and American and European monuments we're seeing destroyed. Yes, Emmerich didn't get a shot at the Kaaba, but surely there were other non-natural monuments he could have thought to break apart. There's a lot of menfolk making decisions while the women hang out with the children, and a lot of nice speeches about respecting all humanity while Western leaders are calling all the shots. Perhaps Emmerich is being cynical about the end of the world — suggesting that even then, Westerners and Western culture will get all the breaks — but if the non-Western characters fight as hard for their lives, we don't see it on screen.

But, if you can shut down the centers of your brain that demand logic, storytelling, or characters who aren't secretly Superman, 2012 can be an enjoyable experience. We were promised beautiful footage of the world falling apart, and on that point, 2012 delivers. Whole cities break apart, monuments crumple, volcanos shoot up from the Earth, and waves pull supercarriers from their watery homes and crash them into buildings. Save for a few odd seams, the computer-generated effects look incredible and there's something strangely satisfying about watching things break down so completely. And Emmerich recognizes that the apocalypse doesn't just demand disaster porn; it needs moments of absurdity as well. He manages to make room for some offbeat sight gags, some of which are genuinely funny and surprising. 2012 might actually be enjoyed most thoroughly on mute.

Emmerich has announced his plans to follow 2012 with a television series, 2013, which would pick up after the end of the movie. Perhaps now that Emmerich has finished blowing the world to smithereens, we can get back to characters and drama, and the year 2013 can prove more interesting than the year 2012.

Eco-Apocalypse

2012: It's pure global catastrophe in Roland Emmerich's film. Earthquakes, tsunamis, volcanic eruptions — every possible natural disaster seems to conspire to wipe out all life on Earth.

Decipher by Stel Pavlou: The year 2012 sees an increase in solar flare activity as scientists see unusual energy signals coming from Antarctica. It soon becomes clear that the sun could be on the verge of triggering a deluge, and all the world's cities could go the way of Atlantis.

Death from the Skies

2012: Supernova: If you're looking for something beyond the usual asteroid strike, here's a different sort of celestial doomsday. A nearby star goes supernova, threatening the Earth's survival, prompting an international team of scientists to launch nuclear warheads to reduce the effect of the impact.

2012: Doomsday: On December 21, 2012, one day before the predicted apocalypse, it is revealed that a celestial object is about to collide with Earth. But this time, it's religion, not science that averts the ultimate disaster.

World War III

Blood of the Beast: Roughly half the population dies in the war of 2012, but the world's chemical weapons render nearly all the men on Earth sterile. The world is repopulated by clones, but 19 years after the first clones are harvested in 2012, the world goes to pot once again.

Zombie Plague

Zombies: A Record of the Year of Infection: The dead start rising early in 2012, and soon the plague has spread across much of North America. And corporate greed has ensured that you can become a zombie even if you've never encountered the walking dead.

I Spit On Your Rave: The film doesn't get released until next year, but its zombie apocalypse starts at the 2012 London Olympics, when a virus is released. Humanity is quickly gobbled up, leaving the zombies to their own devices.

Alien Invasion

The X-Files: Alien colonization has always been a distinct probability in the X-Files universe, and in the episode "The Truth," the Cigarette Smoking Man reveals the date of invasion: December 22, 2012.

2012: The War of Souls by Whiley Strieber: Michael Bay is looking to adapt this tale of alien invasion. It turns out that the world's ancient monuments provide a gateway for alien invaders looking to conquer Earth and eat humanity's souls. And, if the invasion is not prevented in time, the gateways will open December 21, 2012.

RahXephon: The end of the Long Count Calendar marks another alien invasion, this one by the Mulians. The Mu declare war on humanity and enclose the city of Tokyo inside a spherical barrier.

Domain Trilogy by Steve Alten: Scientists may suggest that the dinosaurs were killed off by a meteorite, but the truth is that they fell prey to an ancient weapon buried beneath the Gulf of Mexico. And, if we don't learn the truth about those extraterrestrial exterminators by December 2012, we could be next.

Doctor Who "Dalek": Fortunately, the Doctor and Rose manage to stop Henry van Statten's captive Dalek before it can surface from his Statten's Utah bunker in 2012. Otherwise, the Dalek could have very well exterminated a good chunk of humanity.

A Glitch in the System

Wapsi Square: It's not that the Mayans predicted the end of the world in 2012, it's just that the quantum clock that runs the world must be reset at precisely the time and date the Long Count Calendar runs out. Otherwise, time resets back to an earlier point in time, trapping us all in a time loop. But you won't notice it — after all, it's happened several times before.

Goats: After the untimely demise of God, the Mayan programming firm One Death was hired to keep the multiverse going. Unfortunately, a glitch in the system will cause the multiverse to crash on December 21, 2012, unless the prophesied Programmer can be located in time.

PW2: 2012 by MC Miller: Former professor Hamilton Ray begins to notice strange patterns and synchronicities in in the universe, and develops a theory about a Probability Wave, something that's about to bring about a radical change in the universe at the end of 2012.

The World Is Radically Transformed

The Invisibles by Grant Morrison: The world as we know it may come to an end on December 22, 2012, but it's hardly doomsday. Instead, humanity ascends to the Supercontext, the next level of existence, at the word of Jack Frost.

JoJo's Bizarre Adventure by Hirohiko Araki: The priest Enrico Pucci acquires the stand Made in Heaven, which gives its user the power to rewrite the universe. And in 2012, Pucci attempted to remake the universe to suit his master Dio Brando. However, Pucci died before the universe could be completely rewritten, causing it to return to something close to its original form.

Shadowrun: Similarly, the world doesn't end in the Shadowrun universe, but as the Mayan calendar resets, the world undergoes a dramatic transformation. Magic returns to the Earth, allowing individuals, governments, and corporations to utilize a potent combination of cutting edge technologies and newly harnessed magic.

Additional reporting by Josh Snyder.

Daniel Wilson is angling to be the Max Brooks of robots, having written How to Survive a Robot Uprising and How to Build a Robot Army: Tips on Defending Planet Earth Against Aliens, Ninjas and Zombies (he also happens to have a PhD in robotics from Carnegie Mellon). His latest manuscript, Robopocalypse, sounds like the robotic answer to Brooks' World War Z, describing human life after a robot uprising.

DreamWorks and Doubleday have snapped up the movie and publishing rights respectively, and it sounds like it won't be too long before we're fleeing from swarms of nanobots and our household appliances. DreamWorks spokesman Mark Sourian cited the manuscript's "frightening level of realism," so hopefully we'll get a richer view of the robot apocalypse than we saw in Terminator Salvation.

[Variety]

I recently finished a thesis project on post-apocalyptic genre fiction, and in my research I made a list of 423 books, poems, and short stories about the apocalypse, published between 1826-2007, and charted them by the way their earth met its demise (humans, nature, god, etc.) to see the trends over time.

It's not the idea of Ending itself that has faded – that will be around until we are actually mopped off the face of the Earth. It's the actual moment of disaster, the blood and guts and fire, that has been losing ground in stories of the End. Post-apocalyptic fiction is a 200-year-old trend, and for 170 of those years, the ways writers imagined the end were pretty transparently a reflection of whatever was going on around them – nuclear war, environmental concerns, etc. In the mid-1990s, though, everything just turned into a big muddle. Suddenly, we'd get a post-apocalyptic world whose demise was never explained. It was just a big question mark.

That was the idea behind this chart – I wanted to see if there were patterns in how writers saw the monster. As it turned out, the patterns were clearer than I imagined. Nuclear holocaust was really popular after 1945; that's to be expected. But the precipitous and permanent drop in nuclear war's popularity after the dissolution of the U.S.S.R. in 1991 (see chart)? That surprised me.

Predictably, the human-made apocalypse is a perennial favorite. The way we go about it, though, is always changing, as you can see on the chart, where I've broken up the "human made disaster" into subcategories.

The post-apocalyptic technological utopias of the turn of the century are replaced by dystopias and robot rebellions after World War I (the first expansion of the green region devoted to human-made disaster), when everyone began to suspect that technology was only going to help us go about killing each other more efficiently, not cure us of the need to kill in the first place. Other trends are there, too: anxiety about pollution and global warming tend to spike whenever nuclear fears fade, for example.

The easily spotted trends make the patterns' total collapse in the mid-1990s even weirder. Human-created apocalypses shrink dramatically, and there's a sudden spike of unexplained apocalypse scenarios at the turn of the century. What happened? One possibility is that every End started to feel clichéd. The terror of a possible nuclear war faded, and no new extravagant ways to kill ourselves appeared to replace it.

That's an overly simplistic way of looking at it, though. It's not that the moment of destruction is boring; it's that it doesn't even matter anymore. There are an increasing number of books and films, like The Road and Zombieland, which pick up after the catastrophe and sometimes don't bother to explain what happened at all.

Disaster porn is no longer the point of the apocalypse. It doesn't matter how the world ends, just that it does. Making it to the End doesn't mean the story's finished; much of the time, it's only just gotten started. Stories of the End have never been about ending – they're about the beginning that comes after.

Preceding victory with annihilation disguises how dizzily optimistic some of these narratives are. Stories about the End are so beautifully paradoxical; they are some of the most powerful affirmation stories we have. They can hardly be classified as optimistic, but no matter what happens, even if the End came by human hands, in most stories we are fixable. For the most part, we have faith that though we may screw up, and very badly, we will learn from our mistakes and the world will be better for it.

When the survivors wander around, they're looking at a burned-out shell of a world, but it's still a clean slate. A clean slate full of radiation and cannibals, maybe, but still. I think everyone's had that feeling of wanting to just heave everything out the window and start over. That's what is at the heart of apocalypse stories: the opportunity to rebuild the world in a radically different way.

During the pilgrimage through the wasteland, the survivors – and the readers – are left feeling ostracized from reality. The characters are probably more concerned with where their next meal is coming from, but the reader sees how they are cut loose from the anchors that previously protected us from being overwhelmed by the meaninglessness of existence. The only way to fix it is to find new ways of looking, new patterns to create meaning in the new world.

Destroying the world in books about apocalypse is one way we can entirely take ownership of it. We can only see the world the way we have been raised to, the way our parents saw it, so we need to raze the old world and build a new one in its place in order to have a world that is really and entirely our own. The story of the End, after all, is not nearly as compelling as the story of the Beginning that comes after it.

This is hardly the final word; more a collection of observations and theories. I won't claim any more than that, because if there's one thing I learned while researching apocalypses, it's just how much humans like to see patterns in things – and that when patterns start getting too neat, you've done something wrong. There are still some things about the chart I don't understand – the three points where the natural apocalypse overtakes the human apocalypse, for example – and it doesn't take into account the effect that movies or television had on books. As will any discussion of a large genre, there are some necessary overgeneralizations. But it's a starting point – have at it.

Chanda Phelan just graduated from Pomona College, where she completed a thesis on post-apocalyptic literature. You can read her blog at phnuggle.wordpress.com.

Chart by Stephanie Fox!

There's not much information out there but so far The Fallout, not to be confused with the very layered video game Fallout, takes place in NY and is being described as a combination of Assault on Precinct 13 and Lord of The Flies — whatever the hell that means, I'm assuming an updated Escape From New York, but with shinier guns and kid gangs?

[Screen Daily]

Here's why. For hundreds of thousands of years, life was brutal. It still is for a good chunk of the planet. The technology and wealth we enjoy in North America is a very new development in history, and I think we miss the challenges of day-to-day survival in our comparatively easy modern lives. Some people will even create problems if they have none.

Everyone's had a psychotic girl- or boyfriend, right? Well, lots of ‘em really are just nut-flavored bologna. They have a neurochemical imbalance or ate too many paint chips as a kid… but some people look for drama and emotional upheaval for reasons they can't explain themselves, reenacting the shortcomings, chaos, or abuse of their childhoods.

Surprise. These drama kings and queens might be exactly the kind of person you'd want at your back during the zombie apocalypse or the aftermath of a comet strike. Each of our nut-flavored friends is a sponge. They're ready to soak up as much as trauma as anyone can dish out. They have the stamina, heart and depth to keep on slogging through the radioactive bugs even long after the last shotgun shell is gone.

They're not the only ones. I like to think I'm the kind of guy you'd give the keys to the bomb shelter and I'm extremely boring and normal - wife, kids, mortgage, bleh - ha ha - except to say that I grew up fascinated with books like Lucifer's Hammer and The Stand.

We like to be scared because we have a huge capacity for fear. The most basic element of storytelling is conflict because we respond to it.

For me, writing post-apocalyptic novels isn't so much about exploding helicopters and fifty megaton doomsday bombs as it is about the pleasure of dealing with the best of everything that makes us human: cleverness, grit, loyalty, and self-sacrifice.

Sure, the hot-sex-with-our-last-breath and the gunfights are fun, too, but ultimately my novels boil down to the ability of some people - the greatest of us - to overcome nearly any hurdle. I back my heroes into corners just to watch them wiggle free.

People are tough. We're evolved for less food; more exercise; less sleep; less security; more paranoia. The irony is that we're so good at what we do. We strive for more food; less exercise; more sleep; more security; less paranoia - and we've succeeded.

Look around. Humankind has remade the entire face of the planet, blanketing Earth with electrical grids, highways, super-agriculture, shipping lanes and aircraft, even wrapping the sky in satellites. It's easy to complain about your bills or morning traffic or the neighbor's neglected, ever-barking dogs (you know who you are), but these are fantastic problems to have.

The grocery stores are loaded, we have the industrial strength to roll off three cars per household, and every other family has enough money to spare to feed two dogs and a cat even though they don't have any inclination to walk Sparky and Spot every day and choose instead to leave their canines to noisily go insane, each set of dogs fenced off inside their own isolated little patch of suburbia.

Anybody with a computer to read this blog is richer than 99.99% of the human beings who've ever lived, and yet we can't help imagining what things would be like if we had to start over. Nuclear armageddon. Superflu. The living dead. Nanotech.

Give me a wild scenario and some smart good guys and I'm happy - just so long as the lights stay on and there's iced tea in the fridge. I'd really rather not be sifting through the rubble for canned food and medicine while we keep one eye peeled for roving gangs of illiterate cannibals.

Guest blogger Jeff Carlson is the bestselling author of the Plague Year trilogy. His latest novel, Plague Zone, comes out next month.

According to the wire 2012 is getting ready to D-box your brains out, because this end of the world joy ride is going to include some action seats.

Audience members viewing 2012 in theaters equipped with the D-BOX motion technology will not
only see the movie, but experience it in a unique way as their surroundings respond and react to the events on screen....D-BOX's motion designers spend hundreds of hours creating realistic motion effects (referred to as "MFX") frame by frame in perfect sync with the onscreen action for each individual movie, providing an experience unlike any other on the market. Each D-BOX MFX seat comes equipped with individual intensity settings that can be adjusted to heighten or decrease the motion experience. While moviegoers feel motion effects during many of the action sequences, the seats will remain still during the more dialogue-driven scenes.

Which means, more action for your action, stuffed with action. If this is the wave of the future, count me out. The last thing I need to do is feel the car slamming into my passenger door while John Cusack screams "we're all gonna die!" Unless there's a nice "Cusack caressing the side of my face" scene — if the D-box can make that happen believably, then they can have all my money. Otherwise, you'd better make sure your popcorn bucket can double as a barf bag.

Earlier this month, Guang was awarded the W. Eugene Smith Grant in Humanistic Photography for his series "Pollution in China." These images were taken in various factory towns around China and Mongolia, showing how the byproducts of industry have devastated the regions. Perhaps most remarkable is that these towns are still very much inhabited, with people living and suffering under these apocalyptic conditions.

More images at China Hush. [via Reddit]

What was the pop culture moment when you said "no more" to the End Times?