I want to draw the Glamrocks and the DCA as PowWow dancers so bad but that would be just… so much detail. So mmmm it’ll have to wait.
But hear me out!
Sun and Moon: hoop dancers (Ojibwe/Anishinaabe)
Roxy: fancy shawl (Lummi)
Chica: Jingle dress (Lakota Sioux)
Monty: men’s fancy (Seminole)
Freddy: lead drummer/singer (Eastern Tsalagi/ Cherokee)
DJMM: Master of Ceremonies (Navajo/Diné)
And their regalia is just in their usual colors.
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Maybe this is my lack of familiarity with steampunk genre media—which I conceive as being the Girl Genius comic strip and uh, Wild Wild West (1999 movie)—but the aesthetic and technology influence seems to be all late 19th century, if not into the early 20th century. It's perpetually 1880 or 1905 or whatever, and there are shirtwaists and celluloid collars and also everyone is wearing goggles for their coal-fired dirigibles.
I long for what I have sometimes called Regency Steampunk—steam-powered printing press in 1814!! Fulton's Demologos launched 1815!!—but more accurately, it should be brought into the 1820s. (Restoration Steampunk? Romantic Steampunk?)
I want to see a blend of real-world technology from the time, which is more advanced than I think some people expect, but move it forward slightly with more "futuristic" elements: railroads, telegraph cables, things developed decades later (due to increased focus on technology and greater egalitarianism, but nothing too futuristic).
There will also be some kind of magic or supernatural elements à la Girl Genius. Who doesn't love alternate history/fantasy in a historical setting? An influence here is the Anno Dracula series by Kim Newman, even though I have only read The Bloody Red Baron, but I was impressed by the careful attention to real historical details and setting (in a world that also has vampires and supernatural elements).
Then there is the matter of, how do you make the 1820s less Problematic™ to a modern audience?
It's dicey, because on the one hand I think a world that deviates too much from (deeply unfortunate) reality would be unrecognisable. There's still a 1619 in this world, so to speak, and the foundations of modern capitalism based on exploitation, colonialism, and enslaved labour. You still have a United States and the East India Company; you still have the Atlantic World and the Napoleonic Wars.
But at some point you have An Event that changes the course of history (the magic, the supernatural elements come into play), and I think you can also take real-world reform movements and amplify them. In this world, the racial equality moments gaining ground in the 18th century don't get crushed in a backlash in the early 19th century; movements for extended suffrage don't meet their Peterloo. Here's where I get crushed under a pile of research over some very difficult subjects—but I don't want to magic away these problems, even in a world that has magic.
Friends, do you know of any historical fantasy along these lines?
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Shout out to every blonde light eyed white girl who humble bragged to me that if they were to be hypothetically abducted for human trafficking purposes then they would ""sell for more"" bc they have x hair and y eyes, and that's "like, super rare actually" - so they get to be more afraid and deserve more protection, bc they are just so highly saught after u see. You guys are really holding up the true crime community and killing it at blatantly disregarding statistical likelihoods of violence based on ethnicity, you go girls
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Winter Songs
Two coyotes. Full winter coats puffed out. Follow their morning run
through the back alleys and train tracks under generations of graffiti
and abandoned murals of 80s sports stars. The discarded shells of
burned-out and abandoned land-value-only buildings stand watch over
their paw prints left in snow not yet spoiled. Somewhere above,
magpies announce their arrival into the territory. Angels welcoming gods
of a city gone back to the land through trumpet fare, and the remnants
of an “O Canada” anthem playing on endless repeat from abandoned
stadiums.
Two coyotes walk back 150 years to a time before skyscrapers and
suburbs—man-made lakes, dams, bridges and power plants—and
dig up the bones of ancestors laid along the riverbanks. Watch them
rise up to dismantle the structures placed on top of quarter sections
that divided a country. They spool back barbed wire and let the bison
pound the houses into kindling for their winter fires. Marble legislature pillars crushed under the weight of an elk skull. A coyote’s god
lives in bones.
—Conor Kerr (x)
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the problem ultimately with trying to both-sides the nakba is that it’s not israeli history. at least, not in the sense that it really deserves their input. the nakba, in israeli history, is merely a detail. and so they only ever feel it’s necessary to get their side of the story when palestinians tell theirs. they would never feel inclined to tell the story if palestinians didn’t. in fact, they would rather it not be included in history books at all (and it isn’t). but americans, of course, will always feel they need to get the israeli side, which inevitably invites the only zionists who have a perspective on the matter: propagandists.
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Palestine Action ruined a 1914 painting by Philip Alexius de László inside Trinity College, University of Cambridge of Lord Arthur James Balfour – the colonial administrator and signatory of the Balfour Declaration [1].
An activist slashed the homage and sprayed the artwork with red paint, symbolising the bloodshed of the Palestinian people since the Balfour Declaration was issued in 1917.
Arthur Balfour, then UK Foreign secretary, issued a declaration which promised to build “a national home for the Jewish people” in Palestine, where the majority of the indigenous population were not Jewish [2]. He gave away the Palestinians homeland — a land that wasn’t his to give away.
After the Declaration, until 1948, the British burnt down indigenous villages to prepare the way; with this came arbitrary killings, arrests, torture, sexual violence including rape against women and men, the use of human shields and the introduction of home demolitions as collective punishment to repress Palestinian resistance [3] [4].
The British were initiating the ethnic cleansing of Palestine, fulfilling the Zionist aim to build their ‘home’ over the top of what were Palestinian communities, towns, villages, farms and ancestral land, rich in heritage, culture and ancient archeological history [5].
The Palestinians refer to this time as the Nakba — which translates into the great catastrophe. In 1948, the Zionist militia, trained by the British, forced over 750,000 Palestinians into exile, destroyed over 500 villages and forced those who remained to live under a brutal reign of occupation [6].
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