If you’ve been on the bookish side of the internet for long enough, you’ve most likely come across the sub-genre Dark Academia. Popular as both a literary sub-genre and fashion aesthetic, Dark Academia has inspired other “academias” including the seasonally appropriate Light Academia. As a newly emerging sub-genre, Light Academia is finding its style. Let’s breakdown what we do know of Light Academia and the differences between Light and Dark Academia.

The student characters of Light Academia may be intelligent, but not driven by hubris, greed, or vengeance. Learning, for the Light Academic, is a pleasure and education is a prize. The stuffy, oft Eurocentric Dark Academia catalogue is swapped for visual arts, music, and world literature. Visually and thematically, Light and Dark academia lie on opposite sides of the spectrum. While Dark Academia focuses on bleak literary themes of oppression, death, and existentialism, light academia focuses on themes of friendship, resourcefulness, joy, and the beauty of life.

The aesthetic of Light Academia is nearly identical to Dark Academia, with only the brightness turned up. Think light, earth toned shades. Tweeds and ties, fluffy white dresses and ribbons, vintage knits, classical statues, bouquets of wild flowers, and stacks of worn leather books. Imagery of coziness and domesticity feature heavily in these books — a squashy couch with sleeping kittens, freshly baked bread, paint splatters, and floral tea cups. Now that we’ve covered the basics, here’s a few Light Academia books to get your bookshelf started.

We need better ways to describe romance novels — particularly in terms of sexual content. In terms of genres, sub-genres, and tropes, I think we’re set. Of course, there is sometimes some overlap or cross-genre mingling. But in general, if I pick up an enemies-to-lovers contemporary romance or a marriage of convenience historical romance, I know what I’m getting. However when it comes to romance novel descriptions that communicate how sexually explicit a romance novel is, I pretty much hate every term available. I dislike them on a gut level. But I also find most of these terms pretty confusing.

And I don’t think I’m alone. I constantly see romance readers upset because a book they read had more sex than they wanted or not as much sex as they wanted. And a lot of times, both sides can blame the book or the author instead of our inability to correctly categorize and communicate about romance novels. I think this is what’s also behind the frustration some readers have of the dominance of illustrated covers (although that’s another story for another article). Readers want to know what kind of book they have before they start reading and don’t want to feel tricked.

Categorizing books based on sexual content isn’t as simple as separating genres or tropes. Gatekeepers and readers alike often rate queer romances or romances by authors of color as more sexually explicit than books featuring comparable writing by straight, white romance authors. So finding a universal rating system we can all agree on would both be impossible and potentially harmful. But even though I have read (and enjoyed!) romances ranging from a librarian romance with no sex to a monster romance with a dragon man who has more than one penis…I think it’s fair to want to know what end of the spectrum your next read is going to be on. And I personally cringe when I see romance novels described as hot or sweet or dirty. Let’s break down some of the problems with these terms.

Are you ready to add a whole lot of excellent nonfiction to your spring TBR? I hope so, because there is so much of it coming out in the next few weeks. There was a time, years ago, when I didn’t read nonfiction, and while I am grateful every day that this is no longer the case, I am also overwhelmed by the sheer number of nonfiction books on my TBR. If you have the same problem, I am very sorry to tell you that I am not here to help you with it. I am here to make it worse (better).

These April releases are especially rich in genre-expanding nonfiction, but there are also plenty of memoirs and some fantastic history books if that is what you love! You’ll find two brilliant Asian American memoirs that tackle American history and contemporary life through intimate family stories. I’ve got a fantastic memoir about drag for you that features art and photographs alongside the writing! And if that kind of hybrid book is your jam, I’ve got another treat in store: a collection of writing about trees and the natural world featuring illustrations that will take your breath away. I’ve also highlighted some new books by some of today’s most brilliant scholars and poets, including Christina Sharpe and Maggie Smith.

Ready? I promise it’s okay to just preorder and/or place library holds for the entire list.

Happy April, bookish friends! April may bring showers and cold blustery days, but it is also bringing us some amazing new YA releases that are making me think of SUMMER. This month’s round up includes some summery reads that are jumping straight to my summer reading list, along with some big name releases, new series, exciting anthologies, and some promising sophomore novels. Whether you’re game for a summer romcom, a high fantasy novel, or something queer, April has got you covered!

As always, I couldn’t possibly begin to cover all of the great new YA books hitting shelves this month, so this is just a choice selection of what you will find. For this month’s round up, I didn’t include some books that I figured were already on your radar — the new Alexandra Bracken novel Silver in the Bone, for example, as well as the new Wibbroka book, Never Vacation With Your Ex. You’ll also want to make sure you don’t miss the latest installment in Charlie Jane Anders’s Unstoppable series, Promises Stronger Than Darkness. But the rest of these books are going to be amazing, so open up your wishlist and library accounts and get ready explode your TBR!

It has been more than ten years since I wrote these words for this magazine’s website: “At last I had begun writing my long-planned book about Captain Ahab’s doomed enterprise in Moby-Dick—about Robur’s doomed enterprise in Verne’s Maître du Monde—about the doomed enterprise of Doctor Hans Reinhardt from the 1979 science-fiction film The Black Hole.”

And now maybe we can approach the same topic from a different angle, as the contortionist said on prom night. Refuse to accept that it is your fate to refuse to accept your fate. The only way not to be driven insane by it is to be insane from the outset.

The Black Hole, 1979. It amazes me that a group of people could make a movie about being afraid of a hole, being attracted to a hole, feeling excited and curious about going into a hole, feeling concerned that, while on the one hand it might not be such a good idea to go into the hole, on the other hand maybe all the best things in life will become possible only after you have gone into the hole, and so on. It’s not the feelings that amaze me; I feel them all myself. It’s the idea that $20 million and a crew of more than a hundred crew members should have been devoted to dramatizing, over ninety minutes, an idea that any healthy child could express in a single simple sentence. Go ahead, smart guy, write that sentence.

Briefly: The USS Palomino, in deep space, approaches a black hole into which a nearby and apparently derelict ship, the Cygnus, mysteriously does not fall. While the crew is examining this ghost ship, the Palomino incurs structural damage and is about to be drawn into the black hole itself when the Cygnus comes alive and tractor-beams her aboard. Robots escort the crew of the Palomino to the bridge of the Cygnus, where they find the mad genius Dr. Hans Reinhardt, an Ahab with a black hole for his white whale. While the Palomino awaits repairs, it becomes clear that many of the “robots” who work on the Cygnus are in fact undead human beings, cyborgs built from its former crew. Reinhardt’s plan is revealed: to drive the Cygnus into and through the black hole. The survivors of the Palomino’s crew seize a probe ship and escape from the Cygnus, but both ships are drawn into the black hole. We see a scene of Reinhardt in torment, imprisoned in a robot body in the fires of hell. But the probe ship passes through cinematic psychedelic turbulence into a realm of heavenly light.

My thirty-fourth year was meant to be a winner. I would drink less, I would eat better, I would write my book proposal, I would walk ten miles every day, I would go to the theater, I would get a job, I would read more books and watch more movies. I would, in short, live up to my potential. All my life I’ve seen out of the corner of my eye the other me, the one who rises early, sleeps well, spends responsibly, works hard, shines with a humble yet unmistakable brilliance, and never lets anybody down, the bitch. Well, no longer.

Thirty-three! Otherwise known as the Jesus year: thirty-three being the very age Jesus Christ got his show on the road. If it was good enough for the Son of God, surely it was good enough for me. Being simply human I didn’t expect a dove from heaven—just a little self-actualization, a shimmer of success, a whiff of recognition. Nothing big. In retrospect, it might have been better to dwell on the how of Jesus reaching his potential (i.e., death) and not so much the when. But I didn’t, and it wouldn’t have made a difference: almost precisely a month after reaching this momentous age, I was throwing up a yellow substance I didn’t like the look of into every available receptacle. Scripture is silent on whether this ever happened to Jesus, but since he participated in humanity in all its fullness, maybe it did.

***

My domestic situations have always had this problem: I buy things for the other me, who has great taste, but then I don’t know what to do with them, because they’re not my things, they’re hers. Other me—McClay A, let’s call her Alice—likes delicate coffee serving sets that would turn the humdrum act of sipping coffee in the morning into a small, beautiful ritual; real me habitually buys cheap iced coffee before going to sleep, placing it on the nightstand for the morning. What happens to the coffee service? Who knows. I look at it and am as charmed as ever. I’d buy it again, I’m sure.

Around the time I realized I didn’t want to be married anymore, I started visiting Mary Wollstonecraft’s grave. I’d known it was there, behind King’s Cross railway station, for at least a decade. I had read her protofeminist tract from 1792, A Vindication of the Rights of Woman, at university, and I knew Saint Pancras Churchyard was where Wollstonecraft’s daughter, also Mary, had taken the married poet Percy Bysshe Shelley when they were falling in love. When I thought about the place, I thought of death and sex and possibility. I first visited at thirty-four, newly separated, on a cold gray day with a lover, daffodils rising around the squat cubic pillar. “MARY WOLLSTONECRAFT GODWIN,” the stone reads. “Author of A Vindication of the rights of Woman. Born 27th April, 1759. Died 10th September, 1797.” I didn’t tell him why I wanted to go there; I had a sense that Wollstonecraft would understand, and I often felt so lost that I didn’t want to talk to real people, people I wanted to love me rather than pity me, people I didn’t want to scare. I was often scared. I was frequently surprised by my emotions, by the things I suddenly needed to do or say that surged up out of nowhere.

Unexpected events had brought me graveside: when I was thirty-two, my fifty-seven-year-old mother was diagnosed with Alzheimer’s. It wasn’t genetic; no one knew why she got it. We would, the doctors said, have three to nine more years with her. Everything wobbled. This knowledge raised questions against every part of my life: Was this worth it? And this? And this? I was heading for children in the suburbs with the husband I’d met at nineteen, but that life, the one that so many people want, I doubted was right for me. I was trying to find my way as a writer, but I was jumping from genre to genre, not working out what I most wanted to say, and not taking myself seriously enough to discover it, even. Who do you tell when you start to feel these things? Everything seemed immovable. Everything seemed impossible. And yet I knew I had to change my life.

There were a string of discussions with my husband, threading from morning argument to online chat to text to phone to therapy session to dinner, where we floated ideas about open marriage and relationship breaks and moving countries and changing careers and dirty weekends. But we couldn’t agree on what was important, and I began to peel my life away from his. We decided that we could see other people. We were as honest and kind and open as we could manage as we did this, which sometimes wasn’t much. The spring I began visiting Wollstonecraft’s grave, he moved out, dismantling our bed by taking the mattress and leaving me with the frame. I took off my wedding ring—a gold band with half a line of “Morning Song” by Sylvia Plath etched on the inside—and for weeks afterward, my thumb would involuntarily reach across my palm for the warm bright circle that had gone. I didn’t throw the ring into the long grass, like women do in the movies, but a feeling began bubbling up nevertheless, from my stomach to my throat: it could fling my arms out. I was free.

At first, I took my freedom as a seventeen-year-old might: hard and fast and negronied and wild. I was thirty-four and I wanted so much out of this new phase of my life: intense sexual attraction; soulmate-feeling love that would force my life into new shapes; work that felt joyous like play but meaningful like religion; friendships with women that were fusional and sisterly; talk with anyone and everyone about what was worth living for; books that felt like mountains to climb; attempts at writing fiction and poetry and memoir. I wanted to create a life I would be proud of, that I could stand behind. I didn’t want to be ten years down the wrong path before I discovered once more that it was wrong. While I was a girl, waiting for my life to begin, my mother gave me books: The Mill on the Floss when I was ill; Ballet Shoes when I demanded dance lessons; A Little Princess when I felt overlooked. How could I find the books I needed now? I had so many questions: Could you be a feminist and be in love? Did the search for independence mean I would never be at home with anyone, anywhere? Was domesticity a trap? What was worth living for if you lost faith in the traditional goals of a woman’s life? What was worth living for at all—what degree of unhappiness, lostness, chaos was bearable? Could I even do this without my mother beside me? Or approach any of these questions if she was already fading from my life? And if I wanted to write about all this, how could I do it? What forms would I need? What genre could I be most truthful in? How would this not be seen as a problem of privilege, a childish demand for definition, narcissistic self-involvement, when the world was burning? Wouldn’t I be better off giving away all I have and putting down my books, my movies, my headphones, and my pen? When would I get sick of myself?

In our Spring issue, we published Kyra Wilder’s poem “John Wick Is So Tired.” To celebrate the poem and the recent release of John Wick: Chapter 4, we sent four reviewers to three different John Wick screenings over the course of a week.  

Tuesday, March 21: Press Preview

The first thing we noted when we entered AMC Lincoln Square 13 for the New York press screening of John Wick: Chapter 4 was that film PR girls are way nicer than their fashion industry counterparts. Check-in was a breeze, and we were informed that since we had special blue wristbands, we didn’t have to turn in our phones. We hadn’t considered that we would potentially have to turn in our phones, but were relieved nevertheless. We were handed a very large stack of papers with a large John Wick logo at the top, containing detailed information about the franchise and a long explanation of the movie’s plot, which we chose not to read too closely for fear of spoilers. This heavy stack of papers was also where we first learned that the runtime was a whopping 169 minutes. This troubled us, mostly because we had had a lot of wine with dinner and were concerned that we would have to pee. The theater was packed with agitated-seeming nonjournalists who were somehow able to secure tickets. People wove up and down the aisles in a huff, frustrated by the first-come-first-served seating. A couple of women exchanged curse words over another woman’s volume. Multiple people arrived late with full take-out bags, their lack of discretion leading us to believe that the staff of the theater were not too concerned with enforcing the rules of this AMC John Wick press preview. 

The French crime film maestro Jean-Pierre Melville once said, “What is friendship? It’s telephoning a friend at night to say, ‘Be a pal, get your gun, and come on over quickly.’ ” In the universe of John Wick, it’s pretty much that too, but it’s a thousand guns, two dozen archers, bows, arrows, knives, swords, bulletproof suits, a sundry list of exotic ammunition, an attack dog, a blind assassin, dueling pistols, a fleet of luxury attack vehicles, and a handful of classic American muscle cars. Oh, and if you could bring them all to the Sacré-Cœur, in Paris, by sunrise, that would be great, thanks.

In 1977, Jennifer Dunbar Dorn wrote to her best friend, Lucia Berlin, from the Hotel Boulderado, where she was staying while she looked for a house in Boulder, Colorado. Her “large corner room” became “a dormitory at night,” while “during the day we roll the beds into a cupboard in the hall.” She described the hotel as a “faded red brick run by post hippies,” a place for people on the make and on the move. This might not seem like a hotel that would have had its own stationery, but it did. The paper’s crest features a lantern and mountains, and the header reads HOTEL BOULDERADO in French Clarendon font: the typeface of Westerns and outlaws, of greed, gambling, and adventure. The hotel’s name, Dunbar Dorn recently pointed out to me, “is a combination of Boulder and Colorado, obviously, but the mythic El Dorado is ingrained everywhere in the West”—its lost city of gold.

I stumbled on this letter at Harvard’s Houghton Library, where a collection of Berlin’s papers are stored in a single cardboard box. Almost everything she saved over the course of her peripatetic life is compressed into this tiny space: correspondence, notebooks, reviews, manuscripts, applications for tenure. I am Berlin’s first biographer, and I often felt deeply moved as I worked through the box last summer. Berlin is my El Dorado, and I had been looking for her for so long … Though the archivists at the library had sent me scans of some of these documents during the pandemic, it wasn’t the same as touching pages she had once touched.

As I examined the yellowed paper, placing my own thumb over the smudged thumbprint at the top, I imagined Berlin reading Dunbar Dorn’s letter at her kitchen table in Oakland after a shift on the Merritt Hospital switchboard. Mostly, it’s about Dunbar Dorn’s journey from California to Colorado with her husband, Ed Dorn, and their children. Her emphasis is on their time on the road, not on their arrival—on transience over stasis and on quest over complacency, core values of the counterculture to which she, Dorn, Berlin, and their dispersed community of writers and artists loosely belonged.

For our new series Making of a Poem, we’re asking poets to dissect the poems they’ve published in our pages. Kyra Wilder’s “John Wick Is So Tired” appears in our new Spring issue, no. 243.

How did this poem start for you? Was it with an image, an idea, a phrase?

With the first line. It was something I’d thought a lot about—I run marathons, and in those tense few days before the race, when I’m drinking water and carb loading and meditating on what’s going to happen, I watch John Wick, specifically because of the way Keanu Reeves runs. He looks so tired, but he’s winning. 

In the fall of 2021, I was tapering for a marathon and then I had to go to a funeral, and suddenly my John Wick time got invaded by real grief. And John Wick was good for that, too. 

My bathroom is ugly. My bathroom is so ugly that when I tell people my bathroom is ugly and they say it can’t be that ugly I always like to show it to them. Then they come into my bathroom and they are like, Holy shit. This bathroom is so ugly. And I say, I know, I told you.

Let me list the elements of my ugly bathroom: the sink has plastic handles and it’s impossible to clean behind the faucet. Or, you can clean behind it but it’s difficult, so it’s always grimy. The sink itself, the basin, is made of some sort of plastic material that probably used to be white and is now off-white.

The water pressure in the sink is almost nonexistent. I’m not sure if this has anything to do with the sink itself but when your bathroom looks like this you don’t think, Oh wow, I really want to improve the water pressure, because bad water pressure goes with the decor.

The textured ceiling looks like a birthday cake that was frosted with canned white frosting by a person who hates whoever’s birthday it is.

I met Sean DeLear when I was twenty-four, in this house across from the Eagle in Los Angeles—I remember Sean talking about the LA scene, me asking him if he had a Germs burn (I don’t remember the answer), but also being very struck by the fact that up until that point I had probably met only a couple dozen Black punks but never anyone of Sean De’s age and with their poise. Even in Stripped Bare House at 2 A.M. and being festive she just commanded this kind of magic and glamour—it was definitely something to reach for and to aspire to. We don’t always clock these things when we are younger, but the mere presence of her let me be hip to the fact that I could be beautiful, Black, and punk forever—and in fact, it would be the best possible path to take.

It had been mentioned to me by Alice Bag (of the Bags, duh) that Sean was amongst the “First 50”—that seminal group of LA kids who were the first freaks to go to punk shows in Los Angeles and the geniuses of LA punk. Being a total-poser nineties punk I can’t even wrap my head around the dopamine effect of being in the mix when it all felt new—when Sean first started taking the bus out of Simi Valley and going headfirst into the scene for shows in Hollywood. How very frightening and liberating it must have been at the time for her, but of course I think Sean De was way beyond the title “trendsetter”—the word for her is MOTHER, forever, for sure, and for always.

What is contained in the tiny pages of this book is a blaringly potent historical artifact of Black youth, seconds before the full realization into the scary world of adolescence and inevitable adulthood. Uncomfortable in parts? Yes, of course. I remember in eighth grade reading The Diary of Anne Frank—the uncensored version, which was withheld from the public until her father’s death because he stated he could not live with the most private parts of his adolescent daughter’s diary being consumed by the world. There is a certain sense of protection I feel for baby Sean De’s most private thoughts being so exposed; however, so very little is written about the lives and the bold sexuality of young queers, and specifically of young Black queers, that I also have to give regard to the fact that there is something ultimately explosive about this text. It also denotes the intense singularity of its author. A gay Black punk one generation AFTER DeLear, at the age of fourteen I was rather content staring at a wall and obsessing over my Lookout Records catalog—I can’t even comprehend a gay Black kid some thirty years before planning to blackmail older white boys’ dads for money for acting lessons. Okay, like first of all, YAAAAAAAS BITCH, and second, this level of forward thinking is what propelled Sean De to become the scene girl to end all scene girls. I do have to imagine what level of this diary is real and which parts sit in an autofictional space—did she REALLY fuck all these old white dudes? Or was it a horny and advanced imagination at play? The only real answer is WHO CARES. I think one of the most magical things about Sean De was that her imagination and her fantasy world were so absolute. The world she was spinning always BECAME true—this is the beauty of a shape-shifter, and she was a noted scene darling and muse for this reason.

Now amid all this magic, of course, was her fair share of trials and tribulations. Sean related to me that when her band Glue’s music video for “Paloma” debuted on MTV’s 120 Minutes, a higher-up in programming made a call to make sure that it was never shown again—and how sad.

For years, hundreds of high-profile manuscripts — including early versions of books by Margaret Atwood and Sally Rooney — were stolen in a phishing scheme. The most puzzling part of the case was that nothing seemed to come from these thefts; uthe manuscripts were not leaked or sold, as far as anyone could tell. So why go to the trouble of impersonating a publisher in order to get these manuscripts?

Last year, we finally found out the person behind the theft of roughly 1,000 unpublished books: Filippo Bernardini. But that didn’t address the bigger questions about the case.

Bernardini has now gone to court and pleaded guilty to wire fraud. His lawyer, Jennifer Brown, argued for a light sentence, saying he grew up lonely, often bullied for being gay, and found refuge in books.

Bernardini said he “wanted to keep them closely to my chest and be one of the fewest to cherish them before anyone else, before they ended up in bookshops” and that reading them at this stage felt like having a “special and unique connection with the author, almost like I was the editor of that book.”

The argument worked, in that Filippo Bernardini will not be going to jail. He will be deported to the UK or Italy, however, and must pay $88,000 to Penguin Random House to cover their legal fees.

As I get older, and the world gets worse, or gets differently bad, or stays the same but my understanding of its badness deepens and broadens, I grow ever more dependent upon books like Akwugo Emejulu’s Fugitive Feminism. This short, sharp text reminds readers that, like the rattling door in a haunted house or the concerned face of a friend who understands well the way a lover is slowly bringing about your annihilation, it is good to leave that which does not serve you. Fleeing, as in the case of the enslaved from the plantation, is no act of cowardice but a tremendous gesture toward liberation.

The flight Emejulu encourages is not from a place but from a conceptual space. Referencing the work of Black critical theorists like Sylvia Wynter, Fugitive Feminism troubles the notion of the “human,” arguing that it is not a neutral, objective term for one type of mammal but a philosophical and political category informed by colonialism that, from its invention, excluded Blackness and Black people. For years, many have fought (to no avail) to be, for once, called and acted upon as humans, but for Emejulu, there is nothing to be reclaimed in that cursed white supremacist taxonomy. When we stop seeking inclusion into a category built on genocide and eugenics, there is freedom to explore other ways of being, seeing, and doing.

Emejulu’s writing is clear, evocative, and concise, and while readers with no background in the subject material may find places where they need to spend more time, Fugitive Feminism is an extraordinarily accessible text that will touch many of those left behind by society without sacrificing complexity and critical rigor.

—Rivers Solomon, author of “This Is Everything There Will Ever Be”

There are a lot of suspicions that during this era of book bans, we’ll begin to see a different output of material from publishers. They may pull back on queer books and/or books by people of color, those books which approach “sensitive” topics like sex and sexuality, and even graphic novels. Unfortunately, because of how publishing works years in advance, we won’t be able to see how this plays out for another year or two.

But there is another element of the publishing ecosystem worth reaching to see if they have seen changes: literary agents.

For those who are not familiar with what agents do, the short answer is they represent the authors and books and work to sell those books to editors on the behalf of those authors. They are, for lack of a better way to describe it, the intermediaries. As such, they have a lot of insight both into what’s happening to authors and what’s happening in Big Five Publishing.

This week, I’ve put together a survey for literary agents to share what they’re seeing in the world of books with regard to book bans. Any agent is welcome to partake, and they may pass the survey along to colleagues — it is anonymous, with no required number of questions to be answered.

You can access the survey here.

The steampunk genre has been my jam since I first laid eyes on the epic airships of the Final Fantasy IX Playstation game as a kid. I loved nothing more than watching my brothers play it. Sometimes I would play too, but it was less effort to sit back and watch the game unfold in front of me. Seeing airships again while watching Treasure Planet in theaters in 2002 gave me so many feelings. If we want to get technical, the movie’s technology involves solar power rather than steam, but the speculative 19th century atmosphere definitely gives it a steampunk feel. As I explored more steampunk growing up, I fell further in love with it, including steampunk comics.

That’s the thing with steampunk though. It’s not just a genre of books and media involving Victorian-era settings with impressive steam machinery. It’s a whole aesthetic. Finding ways to subtly dress steampunk is very much my vibe, ticking earrings and all.

Along with this though, Amber Troska makes an excellent case on how steampunk extends even beyond the aesthetic. In her analysis of one of my favorite steampunk Studio Ghibli films, Castle in the Sky, Troska (2020) writes, “Yet, despite how entrenched the term has become as an aesthetic marker, I would argue the best steampunk stories regularly engage with social and political issues, with the rewriting of history through alternate histories and technologies operating as a deconstruction (and reconstruction) of contemporary concerns.”

Troska also digs into distinctions that may arise in steampunk content created, explaining,”Western steampunk stories are often set at the height of the colonial and industrial power of Europe (especially Great Britain), while Japanese entries in the genre are perpetually aware of the collapse of their imperial might on the world stage and the destructive height of industrialization.” It’s interesting to think about the various adaptations of steampunk and how different cultures can place unique lens on these fantasy worlds.