Fred Flintstone has a Jetpack Made of Rocks and a Pterodactyl

Tee Morris rightfully had his suspenders in a bunch when he wrote this blog entry. Steampunk is a bit hard to swallow enough as it is, but there are some punks who are so zealous they want to create more subgenres.

Morris provides a list of the invading subgenres.

Sailpunk is life at sea with pirates and exploration.

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Ricepunk substitutes electricity for gunpowder and fire as sources of energy.

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The pre-digital age (1945-1965) including the Space Age and mid-century modernism belongs to atompunk.

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Teslapunk is busy dabbling in electrical energy as a means of replacing all other primitive sources of fuel (coal, wood, oil, steam) without being replaced by another power source such as nuclear or diesel power.


Stonepunk is legitimately some kind of backwards “Land of the Lost” where primitive materials meet advanced technology in pre-historic times. I’m getting weird images in my head of Fred Flintstone exploding into the air with a jetpack made of rocks and a pterodactyl.

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Morris saw these subgenres as “splitting hairs,” but it’s all creative and people enjoy it so I’m okay with them. I would boil down these subgenres into basic science fiction or steampunk with a twist of paint thinner.

It seems that many people don’t even know about these subgenres or they can’t adequately explain what they are with supported literature or films.

Before you know it, there will be puddingpunk and leonardodicapriopunk (which won’t win any Oscars).



They Came in the Night with Hot Tea

The term “steampunk” did not originate until around the 1980s and it appeared as a variant of cyberpunk, which is another science fiction subgenre. Cyberpunk is expressed as an oppressed society of people who are ruled by computers and technology and some of the “outcasts” fight back.


Steampunk rode into existence on the swallow coattails of literature. Tim Powers’ “The Anubis Gates” (1983), K.W. Jeter’s “Morlock Night” (1979) and the “Infernal Devices” (1987) and James Blaylock’s “Homunculus” (1986) are some prime examples.

Jules Verne and H.G. Wells are widely accepted as the prominent literary voices of steampunk.

K.W. Jeter wrote the first written example of steampunk in 1979 as he struggled to find a name for the genre he and other authors were writing in. Mohan Kumar believes that steampunk was firmly established after William Gibson and Bruce Sterling finished their novel The Difference Engine in 1990.


There are film inspirations for steampunk as well such as “Metropolis” (1927), “Brazil” (1985) and “The City of Lost Children” (1995).

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