Steampunk has come a long way in recent years. No longer an obscure subgenre of speculative fiction, steampunk today encompasses besides literature and film, design, fashion and a community that spans worldwide. Although firmly rooted in British Victorianism, steampunk enthusiasts hail from all nations with fascinating variations on the theme being explored in France, Japan and the United States especially.
As the steampunk movement continues to grow, it is only inevitable that the many people involved in it try to shape it to their personal liking. There is no harm in that. Steampunk is a versatile concept that can adapt to different times, different places, different philosophies even. New interpretations of steampunk should always be welcomed as refreshing in the first place before we attempt to dissect or, eventually, discard of them. Continue reading “Steampunkness: A New State of Open Mind”
Reactions to the Victoriental issue of the Gatehouse Gazette (March 2010) have been pretty fierce. The opinions of those provoked by it may best be summarized by Ay-leen, who noted that using the phrase “Victorientalism” to imply a “positive, transcultural blend” of cultures is “misguided.”
As a genre, steampunk was hardly political. Cyberpunk, in its reverence of alienated hackers and all sorts of outcasts, might carry some political weight, but the very term “steampunk” was coined as a joke (by author K.W. Jeter in 1987) and never meant to describe the sort of movement we know today.
Because of its newly-acquired subculture status, steampunk has made bold fashion and design statements, but it struggles to find an ideology. While some recognize anarchist potential in putting the “punk” back in steampunk, others emphasize that steampunk is inherently apolitical. Others yet seek a middle way by interpreting the “punk” as a broad rejection of modern-day consumerism and the loss of individualism associated with twenty-first-century industrial society. Continue reading “Steampunk Politics Anno 2010”
In general, the history of cinema seems to be more significantly linked to dieselpunk and cyberpunk as opposed to steampunk. This isn’t surprising, considering cinema isn’t considered to have entered its prime until the 1920s, around the beginning of the “dieselpunk” era.
Much of the Howard Hughes legend was well dramatized in the hit Hollywood film The Aviator, starring Leonardo DiCaprio. With some alterations for narrative, the film was a great success and provided the viewer with a good understanding of Hughes and his eccentricities.
According to the blog The Flying Fortress, there are “two flavors of dieselpunk”: a pre-nuclear “Ottensian” dieselpunk (named after me!), which revels in the bliss and progress of the 1930s, and a post-nuclear “Piecraftian” dieselpunk, which is sometimes post-apocalyptic. Continue reading “The Meaning of Decodence”
While dieselpunk is commonly associated with a pulpy, noir-and-Jazz America, there remains a fascination in the subgenre for the crepuscular world of Interwar Europe.
It was a time of artistic ferment and architectural genius, of electricity and of the machine entwining themselves into the fabric of urban life, of cultural clashes and sexual politics, of ambitious administrators uttering proclamations and of humbled citizens trying to find a place in the brave new world.
Patience is a virtue many modern men and women lack. Patience, to most, can be tested when queued up at Starbucks or waiting for your email to load. Yet the patience of most folks is the blink of an eye when compared to the creative endurance of artists Paul Guinan and Anina Bennett.
The husband and wife have put together the stunning Boilerplate: History’s Mechanical Marvel. The hardcover artbook, all 168 pages and 350 color illustrations (along with numerous black-and-white photos, sketches and scribbles), covers the fictional (yet lovingly pitched as real) life of Boilerplate, a robot soldier and adventurer, creation of inventor Professor Archibald Campion. Continue reading “Boilerplate: History’s Mechanical Marvel”