Steampunk Magazine

Although steampunk has been around as a genre since the 1980s, it came into its own as a subculture and artistic movement in the mid-oughts of the twenty-first century. In these first issues of SteamPunk Magazine, some out of print for years, there are articles and interviews on music, fashion, politics, history, and mad science. Groundbreaking steampunk fiction and breathtaking illustration run beside bizarre philosophy and manifestos. Learn to etch copper, to build a pennyfakething from an old bike or a jacob's ladder from trash. Discover vertical windmills or sew a pair of spats. Here collected now are over 400 pages of awesome steampunkery. SteamPunk Magazine has always been known for keeping the punk in steampunk, for being willing to celebrate steampunk subculture as a part of the global counterculture. Includes contributions from Michael Moorcock, Alan Moore, Ann & Jeff Vandermeer, Jake von Slatt, and many more essential names in steampunk!

What is steampunk? Fashion craze, literary genre, lifestyle - or all of the above? Playing with the scientific innovations and aesthetics of the Victorian era, steampunk creatively warps history and presents an alternative future, imagined from a nineteenth-century perspective. In her interdisciplinary book, Claire Nally delves into this contemporary subculture, explaining how the fashion, music, visual culture, literature and politics of steampunk intersect with theories of gender and sexuality. Exploring and occasionally critiquing the ways in which gender functions in the movement, she addresses a range of different issues, including the controversial trope of the Victorian asylum; gender and the graphic novel; the legacies of colonialism; science and the role of Ada Lovelace as a feminist steampunk icon. Drawing upon interviews, theoretical readings and textual analysis, Nally asks: why are steampunks fascinated by our Victorian heritage, and what strategies do they use to reinvent history in the present?

SteamPunk Magazine has long been a magazine dedicated to keeping the "punk" in steampunk. This eighth issue is our long-awaited return to print and is book-length, our biggest issue yet. Featuring history, opinion, interviews, DIY, and an astounding array of some of the finest voices in steampunk fiction. Featuring interviews with Collane di Ruggine, Shanna Germain, Steampunk Emma Goldman and Voltairine DeCleyre, Greg Rucka, Unwoman, and Thomas Willeford; and writing by Larry Amyett Jr., Cassandra Marshall, Profesor Calamity, Katherine Casey, The Catastrophone Orchestra, Mikael Ivan Eriksson, P. Fobbington, Kate Franklin, Margaret Killjoy, E.M. Johnson, S. Kimery, David Major, Dimitri Markotin, Screaming Mathilda, Wes Modes, Marie Morgan, David Z. Morris, Jamie Murray, Juan Navarro, Profesor Offlogic, Pinche, David Redford, Miriam Rosenberg Roček, and James Schafer. Plus artwork from Manny Aguilera, Tina Black, Sarah Dungan, Doctor Geof, Allison Healy, Tommy Poirier-Morissette, Juan Navarro, E.M. Johnson, Larry Nadolsky, Kate Oliver, and Sergei Tuterov!

This issue of SteamPunk Magazine features lots of ways to get up to no good! There's also history, fiction, interviews, and everything you could possibly want! No steampunk library is complete without it. Issue #9 features Cherie Priest, Cory Doctorow, and more.

Fiction has a special role in the way we relate to each other. Fiction can take us outside of our own experience and give us a small hint of what it's like to be someone else. Speculative fiction - including steampunk - has always been a metaphorical mirror to our own society, allowing us to see ourselves and our behaviors from the outside in ways that we otherwise couldn't. It's not magic. It's the interworking of dozens of finely machined gears. It's the craftswoman adjusting the tension on a spring so it doesn't break. It's the stoker making sure the furnace fires stay burning. It's the conductor collecting tickets, the passengers watching the landscape roll by, the excited child standing next to the engineer who gets to pull the cord and hear the train's steam whistle. It might not be magic, but it's still amazing. Especially with a project like Steampunk Universe, making an anthology of steampunk stories that feature diverse characters who are disabled or aneurotypical. Join editor Sarah Hans, our cover artist James Ng, and contributors Ken Liu, Jody Lynn Nye, Maurice Broaddus, Malon Edwards, Emily Cataneo, Pip Ballantine and nine others today.

Tracing the genre through fiction, visual art, film and videogames from the 1980s to the present, this book offers a comprehensive exploration of the intersection between neo-Victorianism, urban spaces and Steampunk. Characterised by its interplay between past and present and its anachronistic retro-speculation, Neo-Victorian-infused Steampunk remixes modern collective memory to produce a re-imagined vision of Victorian London. Investigating how Steampunk's re-calibrated Londons both source from and subvert Victorian discourse about the city, Steampunk London offers a deeper understanding of how a popular cultural memory of the Victorian past is shaped and transmitted in light of present-day identity politics. Covering key themes including retrofuturism, gender and sexuality, colonialism and postcolonialism, it considers such ideas as how early Steampunk synthesizes Victorian urban ethnography; how Victorian urban Gothic shapes shared transmedia memory to challenge reactionary, nostalgic meta-narratives; how Steampunk video games mobilize urban space as an immersive storytelling device with cities open to play; and how Steampunk interprets the modern metropolis as an opportunity for feminist and queer agency. Through examination of Victorian-era writers from Charles Dickens to Arthur Conan Doyle, the book digs into works of fiction and media alike, looking at The Difference Engine, Soulless, and The League of Extraordinary Gentlemen, From Hell, Guy Ritchie's Sherlock Holmes, cyberpunk classic Blade Runner, and Assassin's Creed: Syndicate and The Order 1886. An important intervention in the study of steampunk, Helena Esser demonstrates how the works explored invite participatory consumption and considers the genre's potential- and failures- to interrogate and challenge our relationship with the Victorian past.