Dieselpunks

Dieselpunk + Steampunk Culture

Several of the discussions here reminded me of this article at The Gatehouse,"The Two Flavors of Dieselpunk." In an excerpt from the article:
Elaborating upon the observations of The Flying Fortress about the genre, we have established two kinds of dieselpunk, differing in setting, style and influence. The “Ottensian,” of which Sky Captain and the World of Tomorrow (2004) is representative, is typically set in a 1930s that was never bothered by a Great Depression and is therefore more of a continuation of the Roaring Twenties; its optimism and excitement only strengthened by further progress. This buoyant and most pervasive of “Ottensian” dieselpunk shares its era with more film noir-styled, hard-boiled detective stories such as The Shadow (1994) and The Big O, which depict the negative effects of the era’s laissez-faire attitude: the rise of totalitarianism, technocratic perception, and the “grit and oil [and] dust and mud”5 of pollution.

On the other side of World War II we find the “Piecraftian” dieselpunk, shaped by an alternate outcome of the war: often Axis victory but sometimes a three-way Cold War reminiscent of Nineteen-Eighty-Four. Either way, the war is typically depicted as having been prolonged with advanced technologies based upon real-world Nazi experiments with rocketry, jet aircraft, and eugenics and the occult. Sometimes the “Piecraftian” is set during the later stages of the war, as is the case with video games like Return to Castle Wolfenstein (2001) and War Front: Turning Point (2007). Often, however, it is characterized by dystopia and nuclear paranoia, and the development of evermore agressive technologies of war and the conquest of space by Nazi-Germany—in Philip K. Dick’s The Man in the High Castle (1962) and Energia Productions’s Iron Sky (2008).

Finally, the darker side of the “Piecraftian” is truly hopeless, for in the post-apocalyptic environments of Mad Max (1979), Radioactive Dreams (1985), Yukito Kishiro’s Battle Angel Alita and Kevin Costner’s Waterworld (1995), there is no chance of recovery, no hope for a better future; only an everlasting struggle for survival.


I consider myself Ottensian Dieselpunk. I was wondering in which category other's considered themselves.

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I don't see kilts as a part of my fashion, but whatever floats your boat (or raises your skirt) is cool with me.
There are a lot of military dress uniforms that incorporate the kilt, even today.

Also, welding and construction would be much more pleasant with a nice breeze under your protective leathers, I think.

If you're a clansman, I'd definitely incorporate your tartan into your uniform somehow.
This discussion about kilts reminded me of this advertisement. :)
When I'm not in my swing duds... as a Toy Soldier, most TS uniforms are very Piecraftian, as Dr. Steel embraces the "pulp supervillian" archetype. But I still try to skew mine toward an Ottensian bent.
I'm not really sure. If I'd lived back then, 20's-30's-40's, I'd have been an elegant dresser like Bogie or George Raft or Willie the Lion, but not everyone had enough money to do that. Occupation? Bandleader, What I'd want is an orchestra like Duke Ellington's or Paul Whiteman's or Ben Pollack's, which could play either hot or sweet music and make both styles sound good.

I don't have any desire to dress up in a costume myself , but the Steampunk Batman is one of the coolest outfits I've seen in a long time— the detailing is fantastic!
Ottensian all the way. although piecraftian has elements i love as well.
can't w ejust have ottcraftian and combine the two to have an positive outlook on a bleak war? lol.
Absolutely Ottensian.
I consider myself an Ottensian Dieselpunk with a touch Noir for flavour.
I'd probably be closer to Piecraftian. My style of dress loosely resembles world war two U.S. uniforms.
From what I have read I definitely fall into the Piercraftian aspect. I love WWII and especially love the occult/ super-science stuff.
I'd definitely fit in the Ottensian camp, with the minor addition of The Great War having either never occurred as well as the Great Depression. We could muster the grittiness of film noir without the cynicism of the lost generation, can't we?

I loved the optimism of the new century, the skyscrapers and art deco design, plus the neo-classicist aspirations that seems to abound. We (who ever we are) would be as mighty as Rome! As cultured as Greece! We'd have the majesty of the Pharaoh's entombed in our very souls! All the greatness of all time is bubbling up, and never have times been better, men been more ready, technology more able to...see...what? The future into being?

I puttered out. That's what it is for me, though. Either in clunky Model Ts, or the sleek sexiness of those curvaceous chrome goddesses; in the modern obelisks and zeppelins, biplanes and jets, everything was new and novel and all things were limitless. Even in the shadows and amidst the grime of film noir, there was still a grace to the world, that is, even if everywhere you look things are ugly, you at least knew there was a right way to be.

*cough* Or is, Dieselpunk being a modern thing, and all the majesty I admire exists in my head. = /

To misquote Billy Joel though,
"It's all Dieselpunk to me-ee!"
I am definitely Ottensian Dieselpunk. I fell in love with the excitement, the dog fights, the devil may care attitude of pilots, all that good stuff. So definitely Ottensian as thats what got me into the Dieselpunk genera. Also "Ottensian" is just dang fun to say.

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