It’s been a long time since I left the steampunk scene and an even longer time since I should have. Yet as someone who writes a blog on historical film and literature should know, the past is inescapable. Hardly a month goes by when I’m not alerted by aggregators of academic journals — which I use for my offline life as a history and science educator — that my name has popped up in a paper about steampunk. Invariably these papers are referencing a piece I did over a decade ago in SteamPunk Magazine titled “Varieties of Steampunk Experience”.
Unfortunately, every single academic paper I have seen reference my piece has misinterpreted it, and misinterpreted it in almost exactly the same way.
Continue reading “Revisiting Nostalgic and Melancholic Steampunk: Correcting the “Varieties of Steampunk Experience””
To keep up with all the responses to my “Who Killed Steampunk?” story, I’ve spent more time than usual reading Never Was‘ Twitter feed in the last couple of months. I follow almost everybody Twitter recommends to me, as long as they look or sound relevant to steam- or dieselpunk, and I follow back almost everybody who follows Never Was. So I made no effort to tailor this feed politically.
What I get is half steam- and dieselpunk and half left-wing politics. I don’t see any tweets that suggest they’re from a person who is center-right.
This isn’t new. I asked eight years ago where the steampunk Republicans were. Nor am I the only one who worries steampunk has become an echo chamber. Others who have written on this topic include Professor Elemental and Moriarty Viccar, both of whom are left-wing.
I can think of three possible explanations:
Continue reading “Can You Be Right-Wing and Steampunk?”
- Twitter is left-wing.
- Steampunk is left-wing.
- Right-of-center steampunks don’t tweet about politics.
More than two years ago, I caused controversy with the rant “Requiem for Steampunk” in which I outlined what had gone wrong the genre. I wrote in declarative statements that what we call “steampunk” isn’t steampunk anymore by bookending the article with these two paragraphs:
Since it has lost the anti-authoritarian, anti-establishment aspects, “steampunk” is no longer steam “punk.” It’s something else now and I’m not sure what to call it… So either steampunk is dead, it’s dying, or it was never what it should have been and what is now called “steampunk” is a bastardization.
If steampunk — and for that matter, dieselpunk, decopunk and so on — isn’t about flipping society right-side up with a splash of non-conformity and anarchy against the ruling class, we should find another suffix besides ‘punk.
Sandwiched between those statements was the thesis of my argument and how I came to my conclusion that steampunk was in a lot of trouble as a “social movement”.
I have continued to write and talk about the topic, including in a review for The Steampunk Journal and in an appearance on “Radio Retrofuture” with Bonsart Bokel.
So have others. Nick Ottens’ recent “Who Killed Steampunk?” is the latest entry in this debate.
I have come to the conclusion that if only I had written “Gatekeepers Are Killing Steampunk” and made that the title of my rant, I would not have caused so much controversy. I could still have heaped much of the blame for what’s killing steampunk on the people who are trying to control it and make it their own and I wouldn’t be the villain and scoundrel that I am accused of being today. (Although, let’s face it, I actually enjoy the “scoundrel” part.)
I suspect that a more mundane title would have also spared Nick much of the heat he has taken for his article.
Continue reading “The Gatekeeper’s Scythe”
It’s getting harder to maintain that steampunk is just resting. It may not be dead, but it certainly isn’t as alive as it used to be.
I was never big on steampunk events and I’m not into steampunk music, so I can’t speak for those scenes. But when it comes to art, fiction and the online fandom, there has been a noticeable decline.
Continue reading “Who Killed Steampunk?”
Star Wars is the quintessential space opera with fans around the world. Rather than write the nth article about what makes Star Wars such a phenomenon, I am going to talk about how the movies have had an impact on mostly dieselpunk.
Stick around til the end, because your intrepid reporter managed to ask Anthony Daniels, the actor who has portrayed C-3P0 since the beginning of the franchise forty years ago, some questions while he was a guest at Comic Con Brussels. Continue reading “The ‘Punk in Star Wars”
I didn’t get into steampunk to be an activist.
What got me hooked was The League of Extraordinary Gentlemen in 2003, then discovering it was based on a graphic novel (which was even better), and then discovering that there was an entire genre of this stuff.
I was already into nineteenth-century history and I was into science-fiction. Putting those two together was brilliant.
Continue reading “Punk Is Dead. Long Live Steampunk!”
This website, then known as The Gatehouse, gained some notoriety in 2010, when we dedicated an issue of our webzine, the Gatehouse Gazette, to “Victorientalism”.
I subsequently defended this choice in a blog post that now strikes me as insensitive and in some places wrong.
My assumption — that it is safe to recreate stereotypes from colonial times because those stereotypes, and the power imbalances they sustained, have gone — was flawed. I have learned that such stereotypes and power imbalances are in some cases still with us and in others have a lingering effect. I should have listened to the people (of color) who tried to tell me that eight years ago.
Continue reading “Changing My Mind About Victorientalism”
The dystopia is a familiar trope in the “Piecraftian”, darker side of dieselpunk.
Erika Gottlieb argues in Dystopian Fiction East and West: Universe of Terror and Trial (2001) that dystopian fiction looks at the totalitarian dictatorships of the dieselpunk era as its prototype: “a society that puts its whole population continuously on trial, a society that finds its essence in concentration camps, that is, in disenfranchising and enslaving entire classes of its own citizens, a society that, by glorifying and justifying violence by law, preys upon itself.”
Continue reading “How Dystopias Influenced Dieselpunk”
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 online newspaper The Daily Dot has done a nice feature on dieselpunk. They way they introduce the genre is pretty neat and worth quoting in full.
Continue reading ““A World Where the 1940s Never Ended””