2013 is the year to get ready for some pseudo-time-travelling, what-if wanderings, and speculative festivities of the dapper variety. I have a list of 39 steampunk and steam-friendly conventions and one-day events from around the world, gathered with help from Kevin Steil, the Airship Ambassador.
Since new steampunk cons spring out of the gearwork every so often, if I had missed yours, please drop a comment (and email me about featuring it for my monthly steampunk events roundup).
All descriptions taken from the convention website or Facebook page.
[Read on Tor.com]
Okay, for those who know me, I’m very into non-western steampunk. And I enjoy kung fu comedies. A good steampunk film isn’t just pretty-looking with quirky tech, but addresses shifting social and cultural values in light of early industrialization and urbanization. A good kung fu flick has me cheering at the melodrama, holding my breath (or my abs or my head) in sympathy to whatever punches kicks or wall-breaking tumbles the characters go through. At New York Comic Con this past weekend, I attended the screening of Tai Chi Zero, which promised the best of both.
[Read “Finally a Chinese Steampunk Movie that Unquestionably Is Exactly That: Tai Chi Zero” on Tor.com]
I was at a reading for Scott Westerfeld’s Leviathan when he mentioned off-hand that it would be a trilogy… with an illustrated guide to the world he was building, in the style of the Arthur Spiderwick’s Field Guide to the Fantastical World.
Now, there are a lot of reasons that I liked the Spiderwick guide—I’m a big fan of Tony DiTerlizzi, for instance—but the deep reason is that I’m gonzo for apocrypha. Those sorts of bits and extras that deepen worldbuilding, whether they are art books like Avatar: The Last Airbender: The Art of the Animated Series or in-world mythology like The Tales of Beedle the Bard. The icing on the cake with The Manual of Aeronautics is that Keith Thompson does the art for it, as he did for the series.
[Read “The Manual of Aeronautics: The Art of the Leviathan Trilogy” on Tor.com]
Filed under Essays, Review
Many of our classic monsters were born in the dark and foggy streets of Victorian London. Literary or legendary, so many monsters seem to have been conjured up or at least written prominently about in that wonderful time. It’s no wonder that steampunk is also a product of that fertile era, the birthing ground of science fiction and horror, kindred genres.
[Read “Victorian Monsters” on Tor.com]
Steampunk has been hitting books, films, video games, and RPGs for the last few years – but can it finally work on the small screen today? We have had steampunk shows in the past (many point to the 1960s television-run ofWild Wild West as an example), shows that have steampunk elements to them (like the Chinese-tinged space western Firefly, the props in Warehouse 13, or the last couple of seasons of Doctor Who), and the occasional brass & cog cameo episodes in TV series of other genres (such as the episode “Punked” in season 3 of Castle or that terribly mediocre one from NCIS). We’ve seen steampunk done great, done haphazardly, or done, well, blah. So far, though, according to community consensus, nothing on current television has ever been done 100% right.
Meet the creative team behind Lantern City, then, a group of people who are serious about “doing it right.”
[Read “Bruce Boxleitner’s Lantern City is Steampunk TV with a Can-Do, Fan-Fueled Attitude” on Tor.com]
The Victorians invented sex.
Okay, okay, there’s biological evidence suggesting their forebears figured it out too, but our cultural understanding of sex in the western world is more steeped in the late 19th century than even us steampunks would care to admit. Sure, they were notoriously prude, but the Victorians were obsessed with sex. They just lied about it, constantly.
[Read “Four Kinks Your Great-Grandparents Didn’t Want You to Know About” on Tor.com]
Filed under Essays, History
I’m often asked what the interactive theatrical experience Clockwork Watchis, and the answer changes with each stage of the production. The underlying objective, though, is to create a fictional Victorian universe and tell a story where the narrative is delivered through live events, graphic novels, role-play, online news sites, and a feature film, all co-authored by the audience, through their interactions with our make-believe world over the next five years.
[Read “Stitching Time: Creating an Interactive Steampunk Narrative” on Tor.com]