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When I agreed to write the series about Bulgaria under the Ottoman rule as a suitable stage for the steampunk genre, I underestimated the challenge these articles present. I want to deliver a portrayal of a complicated and cruel span of five centuries in Bulgarian history. At the same time I’m dealing with controversial and sensitive material, given that the Ottoman occupation has hindered Bulgaria’s access to Europe during the time of the Industrial Revolution.1



Even more so, given that this article deals with the cruelest tactic from the Ottoman empire to ensure its armies never lacked man power, while at the same time assured the assimilation of all conquered lands: the ‘enichari’ corps. 2. The word ‘enichar’ means ‘new soldier’ and refers to an Ottoman military class, which consists from non-Muslims. During the 14th century, the Ottoman conquests resulted in a sizeable amount of conquered territories and the aching need to expand the empire’s armies.



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Bulgarian soldiers from the 19th century

My post’s title says it all--or at the very least I hope it does. At one point I figured that I’d like to write about the probability of Bulgarian steampunk developing as a genre niche and war, more or less, found its way into my writing. I believe that war is crucial for steampunk as it’s crucial for Bulgaria, in its different manifestations.

Speculative fiction fuels itself with war. The most dynamic stories are born in troubled times, as epic fantasy has shown readers time and time again. Urban fantasy thrives on shadow wars led in the dimly lit streets and hidden underground worlds, while science fiction marches its fleet in the great cosmos. Steampunk is no different. Steampunk runs on war. It’s the “punk” part. It’s the mechanical force that propels the cogs of the genre onward.

Whether it be used as a dramatic background in order to showcase a human story as done in “Boneshaker” by Cherie Priest or as a force behind the plot as demonstrated by Westerfield in his World War reimagining, war and unrest and upheavals give readers that adrenaline spike, that sense of dire severity and intensity, which can hardly be achieved at times of peace. It’s also the factor that makes us hiccup in adoration at the corset-bound, revolver slinging femme fatales and automations, which can as easily destroy as they can create. It’s why I consider Bulgarian steampunk to be a fruitful pairing.

It’s impossible to mention Bulgaria, look it through the prism of the past and not discuss war.

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This weekend, I'm rockin' it out at New York Comic Con. I'm there mostly doing the Day Job thing, unfortunately (though, if I can, I might wear my steampunk for Sunday.)

For anyone who manages to recognize me in my civvies, though, you'll probably end up being filmed or photographed, if you're looking fabulous and want to flaunt it.

In the meantime, enjoy the linkspam below. This edition features lots of interesting essays, some awesome postcards, and a video of my interview with Cherie Priest.

Read on BeyondVictoriana.com
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Work has been hectic as of late, and I'm also in the midst of preparing for Dragon*Con. I don't have as much new stuff planned out for this week as I had hoped, but have you checked out my essay series about multiculturalism in steampunk yet? And see the links below for more good things to read/watch/run in the streets shouting about.

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December 2012

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