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Note: This week, Noah Meernaum (who previously wrote for Beyond Victoriana about racial representations in Weird West comics) returns with a dual review of ROBOTIKA and its follow-up, ROBOTIKA: FOR A FEW RUBLES MORE. The first review is below, and its companion piece will be posted on Monday.



Steampunk is currently continuing to be abundantly referenced to describe a vast array of fictional works that have presently arisen in the revitalized interest around this peculiar fantastic amalgam. Amid this extensive fictive outgrowth there is an increasing concentration towards advancing beyond any given geographical location, fixed elements, or customary Western outlooks surrounding steampunk. These alternate positions and views, while being openly encouraged as further imaginative formulations enlarging upon the allowable confines of this compound term, are sometimes held as far flung adoptions disproportionately conjoined of disagreeable parts or disparate plots.

One such decisive adaptive outthrust of steampunk is graphically pronounced in the comic series Robotika, that through its principal creator Alex Sheikman’s descriptive reference as being informed of a “samurai steampunk” is sure to directly incite those opposed to such an audacious concoction. Certainly this conjunction of Eastern emblems interacting with Western motifs is not novel in its projected mythical fusion. This perpetual exchange has stemmed from the pioneering films of Akira Kurosawa and continued in current re-shoots or re-slashes such as Takashai Mikke’s Sukiyaki Western Django (2007) and Ji-woon Kim’s The Good, The Bad, The Weird (2008). Afro Samurai (Manga or magazine format, 1999-2000) is another preceding animate example of engaging what would appear to be disparate cultural elements portrayed through alternate perspectives.

Read more on BeyondVictoriana.com

December 2012

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