H.G. Wells’ War of the Worlds never had a sequel. Thankfully Ian Edington and the artist who calls himself D’Israeli have filled that gap in comic-book form with the formidable Scarlet Traces.
Their premise is simple: after the defeat of the Martians, Britain adapts their technologies to make themselves the world’s greatest superpower. The factories of the North are replaced with mechanical estates, the cavalry trade their horses for multi-limbed fighting machines, and homes are warmed by a spinoff of the Heat Ray. All is well in 1908 — or is it?
You sir, yes you. Take a look at your fine wardrobe and the styles you hold dear. Those of the elegant, refined, understated gentleman. A far cry from the powdered wigs and scented noblemen whose influence, without our Beau, would have dominated the fashions of Europe — and thus the world — for many years longer than they have done. Continue reading “Beau Brummell: The Most Stylish History Maker”
One of the risks that any genre faces is that by defining its boundaries too rigidly, it ends up telling the same story over and over again.
2K Games’ BioShock, while firmly dieselpunk, manages to avoid the obvious settings of the 1930s metropolis or World War II and stays original and unusual while making elements of both backgrounds integral to its own bizarre, self-contained world.
The Venetian Carnival evokes thoughts of a centuries-old tradition of lavish celebration. A seemingly timeless event, with it roots in the thirteenth century, the carnival is known the world over for its elaborate costumes; as a playground for the nobility, the wealthy and the common man alike; a time of celebration, dancing, gambling, intrigue and just plain old craziness of every kind imaginable.
A more perfect backdrop for a steampunk story seems hard to imagine.
Toby Frost’s début novel, Space Captain Smith, is a highly enjoyable read of daring-do and regular wit and humor.
The book takes steampunk into the far-flung future of the twenty-fifth-century British Space Empire, where our moustached, stiff-upper-lipped hero, Isambard Smith, battles a multitude of marvelous bad guys, such as the evil Empire of the Ghast and the religious fanatics of the Republic of New Eden. Continue reading “Space Captain Smith”
Though they were conceived and produced long before the term “dieselpunk” was coined, the Indiana Jones films remain some of the most seminal and enjoyable parts of the genre. They include many of the hallmarks of dieselpunk and pulp storytelling, including a protagonist who is at the top of his field but is not afraid to get his hands dirty, antagonists both political and mystical, and an atmosphere of adventure.
It’s unclear who coined the phrase “biopunk,” but presumably the term was invented after steampunk had been established as a genre. At least, it was not until steampunk had entered the mainstream that biopunk emerged.
Like steampunk, this proposed literary genre finds its origins in cyberpunk. It replaces the information technology of cybernetics with the synthetic biology of genetic engineering, but maintains most of the other elements of the genre.
Which begs the question: Should biopunk be considered a genre of its own? And if not, are steam- and dieselpunk really genres in their own right?
While discussing the “dark side of dieselpunk,” the author of the dieselpunk blog, The Flying Fortress, coined the phrases “Ottensian” and “Piecraftian” dieselpunk to refer to fiction set, respectively, in a pre- or post-nuclear environment.