Eddie Bennun is a concept artist from Bulgaria who has worked on the Assassin’s Creed video-game franchise. His personal work includes various steam- and dieselpunk scenes.Continue reading “The Art of Eddie Bennun”
For the last four years, Kevin Steele published hackneyed book reviews and lists at his website, Steampunk Books. A fan of Mark Hodder, Stephen Hunt and China Miéville, he recommended A Red Sun Also Rises, The Court of the Air and the Bas-Lag trilogy that started with Perdido Street Station. Among his popular articles were the ten best steampunk books, four steampunk clichés and steampunk novels that should be made into movies.
We exchanged links and some content with Steampunk Books, so when Kevin’s website went down we happily agreed to host his stories in an archive here at Never Was. Visit the overview page or follow the Steampunk Books tag to find them all.Continue reading “Kevin Steele’s Steampunk Books Archived at Never Was”
As the title suggests, this catalogue book is all about hats. Collecting hat ads from the 1900s to the 1970s, it is a marvelous display of the evolution of headwear through the years.
Sadly, as is too often the case with books like these, all pages are in black and white, denying us the color stories behind the designs.
Even in grayscale, the book is pretty amazing if you’re into hats and want to know more which piece was appropriate for which period.Continue reading “Decades of Hats”
This is a companion piece to my series of catalogue book reviews for those wondering which book will suit them best and whether or not it’s something they want to start with.
Now, what is to be taken away from these tomes that give us a visual glimpse in sartorial evolution from 1909 to 1959? Other than how fashion has evolved from the steam into the diesel and atomic eras?Continue reading “Catalogue Books: What We Will (And Won’t) Learn from Them”
Much like he entered the steamboat business at the dawn of the railway era in The Master of the Mississippi (annotations here), Scrooge seeks his fortune in the American West when it was scarcely “Wild” anymore in The Buckaroo of the Badlands (1992). At age 15, Scrooge is employed by Murdo MacKenzie, the Scottish-born Montana cattle baron, and meets the later president Theodore Roosevelt (although he doesn’t know it yet).
Keno Don Rosa skillfully integrates the tidbits about Scrooge’s cowboy days Carl Barks had revealed over the years, starting with “Only a Poor Old Man,” published in the very first issue of Uncle Scrooge (1952), in which the then richest duck in the world tells Huey, Dewey and Louie he made his fortune “on the seas, and in the mines, and in the cattle wars of the old frontier.”Continue reading “The Times of Scrooge McDuck: The Buckaroo of the Badlands”
Fog in Channel. Continent Cut OffApocryphal newspaper headline
In the first article of this series, I introduced the concept of geographical determinism: the idea that the destiny of a people or a nation is set by its geographical situation. We know that alternate history is dependent on contingency — the idea that the course of history can be changed, either by conscious action or by the confluence of events. How then might these two concepts be reconciled? How can a timeline explore a divergent historical while still remaining bound by geographical constants?
In this second article, I want to explore an example of geographical determinism close to many of our readers’ homes; that of Great Britain as an island nation. (I should stress that the scope of this article exclusively refers to the island of Great Britain and not to the United Kingdom or to the island of Ireland. This is primarily for reasons of length, as the inclusion of Ireland would considerably complicate the subject.) What has being an island meant for Britain, as a concept and as a practical endeavor? How has being an island driven the unification of the many British nations into what is (for now) a single unitary state? And finally, what, if we understand these geographic influences to be constants, are the possibilities for alternative Great Britains?Continue reading “Changing the World: Continent Cut Off”
To the student of history, the premise of Amazon’s The Man in the High Castle (2015-19, our review here), based on Philip K. Dick’s 1962 novel of the same name, isn’t easy to accept. The United States, in the real world an industrial titan and the “Arsenal of Democracy”, is defeated in World War II and replaced by two Axis puppet states. The show justifies its alternate history with a favorite dieselpunk trope: Nazi superscience. Specifically, the “Heisenberg device” atomic bomb, which is used to decapitate the American leadership in Washington DC in December 1945.
The “history” of Nazi-ruled America is more credible. Institutions like the FBI neatly fold into the New Order. Former soldiers, like John Smith (Rufus Sewell), join the SS. Jews and other undesirables, including the mentally and physically disabled, are exterminated with little resistance.
One political aspect of the show which was very much on-point came late in Season 3, when (spoilers ahead!) the recently crowned Reichsführer, Heinrich Himmler, observes the celebrations of a Jahr Null, or Year Zero, in an alternate 1963.Continue reading “Year Zero in The Man in the High Castle”
Marcin Jakubowski is a self-taught Polish concept artist and illustrator with a few diesel- and steampunk pieces in his collection.
He won the Texture Award in GCSociety’s 2008-09 Steampunk: Myths and Legends competition with “The Fall of Hyperion”. That painting, and three more, are displayed below.Continue reading “The Art of Marcin Jakubowski”
Mortal Engines has one good idea: put cities on wheels. The rest of the movie is a succession of clichés.
Humanity has nearly destroyed itself in the equivalent of a global nuclear war. What remains of Western civilization are bandits and imperialists. In the East, peace-loving people thrive behind the protection of an enormous wall. Angry girl Hester Shaw (Hera Hilmar) eventually mellows and falls in love with well-intended but naive boy Tom Natsworthy (Robert Sheehan), who together avert doomsday at the last minute.Continue reading “Mortal Engines”
When I got involved in diesel- and steampunk, most of the online communities were message boards. Now most are on Facebook.
It has not been an improvement. Interactions in message boards were more civil and informative than they typically are on Facebook (or Twitter for that matter). Message boards were never enormous, so you could become a well-known member and make friends. Some of the fellow alternate-history aficionados I met in message boards are still acquaintances and in some cases Never Was contributors.
The problem with Facebook is that everyone is on it. But that is also its power. It’s why most people, when they want to create a community, create a Facebook group.
That’s not what we did for the Never Was Lounge. Here’s why.Continue reading “Why a Message Board Is Better Than Facebook”