The era of steampunk ends with the First World War. While authors have played with twilit eras of brass and steam existing deep in the twentieth century before, these tend to be aberrant epochs, places where the life of the Gilded Age has been unnaturally prolonged. When the war breaks out, as it does in Ian R. MacLeod’s House of Storms (2005), and as it is implied to do in Stephen Baxter’s Anti-Ice (1993), it symbolizes the end of an age, the final verdict of a world too frivolous to last, yet too innocent to deserve the coming judgment.
However, Scott Westerfeld, a specialist in young-adult science-fiction, who made his mark with the popular Uglies series, has taken a different tack. Rather than positioning the Great War as the end of steampunk, Leviathan imagines a war that has been colonized by the steampunk aesthetic. Continue reading “Leviathan”
The live-action film Casshern (directed by Kazuaki Kiriya, 2004) is based on the 1973 anime of the same name. This fact is a sore spot for fans of the original, who generally seem to be unanimous in their dislike of the filmic remake. On the other hand, fans of the movie may not enjoy the anime upon viewing.
I have to admit that I’ve only seen a few fragments of that original 1970s animation, but I think I’ve seen enough to say that I actually enjoy both, for their own reasons.
Needless to say, the 70s anime is generally bright and campy. The film is, however, dark and extravagant (perhaps to excess). This already forces a wedge between the two, which is driven deeper by some drastic changes to the plot. Continue reading “Casshern”
Nellie Bly is a free-spirited woman. Anything a man can do, she can do as least as good and she won’t stop at anything to prove it.
This doesn’t sound too strange, were it not that she lived in the United States of the turn of the century, where the social situation of women wasn’t exactly what it is now. Continue reading “The Alchemy of Murder”
You Are Empty, created by defunct Ukrainian developer Digital Spray, is not a good video game.
The graphics are out of date, relying on shopworn polygons and flat textures more common to games from the beginning of the decade rather than anything on the shelves today. Continue reading “You Are Empty”
When one says that Atlus’ Shin Megami Tensei: Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon is set in an alternate history Japan where the Taisho era (1912-26) has continued on into the 1930s, one might expect this alternate history setting to play heavily into the plot of the game. “How would Japan be different if the Taisho era had not given way to the strong militarism of the 1930s that foreshadowed Japan’s involvement in World War II?”
For better or worse, this is not the case. The story is, instead, highly reminiscent of detective novels of that era, such as the Kindaichi series written by Seishi Yokomizo, but with the addition of the standard theme of all Shin Megami Tensei games: demons, devils, and dark magic. Continue reading “Devil Summoner 2: Raidou Kuzunoha vs. King Abaddon”
The Wolfenstein series has been around since 1981 for the Apple II computer. Things have much changed since then, though, and the games have seen many incarnations across numerous platforms with ever different plots.
The latest is for the Playstation 3 and fits in with the more modern plotline of Wolfenstein’s canon (which builds on the 1990s game Wolfenstein 3D and the later sequel, Return to Castle Wolfenstein) and like them is a first-person shooter. Continue reading “Wolfenstein”
Sam van Olffen is a talented dieselpunk artist from France whose work has been featured at exhibitions throughout the world. He kindly agreed to answer some questions about himself, his work and his thoughts about the genres his creations are associated with. Continue reading “Interview with Sam van Olffen”
For the most part, steampunk is a versatile subgenre. The tropes and themes commonly associated with it, the trappings of era fiction and the wonders of industry, can be applied and reimagined in any number of settings. Today, literary steampunk can run the gamut from straightforward Neo-Victorian adventure to imaginative alternate history to the wildest flights of high fantasy.
It is difficult to describe the exact relationship between the 2001 anime Metropolis, directed by Rintaro, and Fritz Lang’s 1927 silent film of the same name without longwinded explanations or vague terms like “inspired by” or “loosely based upon.”
As a matter of fact, the anime is chiefly a filmic adaptation of a 1949 manga by Osamu Tezuka, best known as the creator of Astro Boy, which is purported to be “loosely inspired” by a few promotional images of the famous masterpiece of silent cinema. Continue reading “Rintaro’s Metropolis”