Battlefield 1 is a 2016 video game that takes place in a steampunk’ed World War I. There are battlecruisers, the first tanks, biplanes and zeppelins — all pretty historically accurate, from the looks of it, although these technologies were super modern at the time and not used as spectacularly as in the game. Continue reading “Battlefield 1: Alternate First World War Concept Art”
The golden age of the airship began around the turn of the last century, when the first Luftschiff Zeppelin — named after the German Count von Zeppelin who pioneered the construction of rigid airships — was launched.
The possibility that airships might be used in war was quickly recognized. George Griffith’s The Angel of the Revolution (1893) has airship bombing Russia’s major cities. H.G. Wells’ The War in the Air (1908) describes the obliteration of entire fleets by aerial attack. Continue reading “Airships in War: Not So Successful in the Real World”
Referred to as Armistice Day, Remembrance Day, or Veteran’s Day, November 11 has a special meaning for dieselpunks. The “diesel era” (1920s-40s) arose out a meaningless war (World War I), saw one of the epic wars of history (World War II) and died a slow death in another meaningless war (Korean War). One could say that dieselpunk is born in blood, lives in blood and dies in blood. Continue reading “Adversity and the Human Spirit”
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 First World War was one of the great catastrophes of human history. In four years of fighting, almost ten million soldiers were killed and wounded, with great swathes of the European continent laid to waste.
By the end of the war, the political landscape of Europe had changed irrevocably, with the German, Austrian, Russian and Ottoman Empires crumbling into a rabble of new nation-states straddling Central Europe and the Middle East. Continue reading “A War Without Alternative: The First World War in Alternate History”