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Speaker 1: Brought to you by the Reinvented two thousand twelve camera.

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Speaker 1: It's ready. Are you get in touch with technology? With

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Speaker 1: tech Stuff from how stuff dot com. Hello again, everyone,

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Speaker 1: and welcome to tech stuff. My name is Chris Poulette

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Speaker 1: and I am an editor at how stuff works dot com.

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Speaker 1: Sitting across from me as always his senior writer Jonathan

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Speaker 1: Strickwind Heidi who old Chap very nice. So we wanted

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Speaker 1: to talk about steampunk, and one of our sister podcasts,

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Speaker 1: pop Stuff, has has addressed steampunk, but we thought we

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Speaker 1: would talk about steampunk as well because we're doing this

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Speaker 1: whole series of episodes about technology that you reinvent you

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Speaker 1: know in some way, so it is different from what

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Speaker 1: it originally was, correct, and steampunk is is sort of

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Speaker 1: an aesthetic approach to that it's and it's not confined

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Speaker 1: solely to technology. In fact, you would argue, I would

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Speaker 1: argue that originally was a literary genre or sub genre,

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Speaker 1: and so let's kind of talk about what it is

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Speaker 1: before we get into any steampunk hacks that we have

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Speaker 1: seen and enjoyed on the interwebs. So you're familiar with

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Speaker 1: some of the the forefathers of modern science fiction, were

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Speaker 1: there for there's many more than that. But right, well

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Speaker 1: it's f O R E. Uh So Jules Verne, Jules Verne,

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Speaker 1: very famous author, H. H. G. Wells another one. Yes,

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Speaker 1: Jules Verne and H. G. Wells together produced a lot

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Speaker 1: of work that kind of serves as a an inspiration

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Speaker 1: for the steampunk movement. Yes, and if they had actually

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Speaker 1: worked together around the world in eighty days could have

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Speaker 1: been accomplished with a time machine and it wouldn't have

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Speaker 1: taken around the world yesterday. So uh sorry, but the

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Speaker 1: time machine didn't it only travel in time but not

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Speaker 1: in space. Wasn't that its thing? Anyway? So the the

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Speaker 1: the Yeah, so you'd have to have it on the

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Speaker 1: on the balloon. I guess nothing bad could happen from that,

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Speaker 1: right So? So the the the aesthetic that Jules Vernon H. G.

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Speaker 1: Wells kind of set is sort of what creates the

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Speaker 1: foundation for steampunk. Steampunk in general takes a very Victorian

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Speaker 1: era approach to technology. Yes, the idea is what if

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Speaker 1: during the Victorian era, uh, tinkerers who have been able

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Speaker 1: to build some of the more complex electronics and machinery

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Speaker 1: that we have at our disposal today. But with that

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Speaker 1: Victorian aesthetic and the materials that they would have used

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Speaker 1: during that era. So you get a lot of stuff

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Speaker 1: with copper and brass and uh and and sometimes things

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Speaker 1: like vacuum tubes and stuff like that, although that's vacuum

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Speaker 1: tubes really are post Victorian. But anyway, you get you

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Speaker 1: get the lots of wood as well, a lot of

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Speaker 1: a lot of these materials that you would find in

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Speaker 1: Victorian furniture and things like that would be incorporated into

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Speaker 1: this sort of technology of this this fictional world, this

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Speaker 1: world that could have been but wasn't. So, Yeah, the

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Speaker 1: Victorian area that we're talking about is is the late

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Speaker 1: nineteenth century, so you know around the eighteen eighties. There's

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Speaker 1: a lot of different literature that came out around that time,

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Speaker 1: eighteen eighties, eighteen nineties. Uh that that that really influences

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Speaker 1: the steampunk aesthetics. So some of it is some of

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Speaker 1: it is stuff that H. G. Wells and Jules Verne writing.

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Speaker 1: Some of it is stuff like uh, Sir Arthur Glendon Doyle,

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Speaker 1: the Sherlock Home Stories. That that definitely influences a lot

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Speaker 1: of the steampunk aesthetic too. It's not just technology, it's

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Speaker 1: a lot of different things but it's it's that feel,

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Speaker 1: especially the feel that you would associate with something like

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Speaker 1: London during this era. Although steampunk, I would say steampunk

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Speaker 1: is kind of very much an English influenced UM esthetic

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Speaker 1: or movement, or at least Western European. Yeah. And the

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Speaker 1: reason why I say English is because a lot of

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Speaker 1: the steampunk stuff I see is based off Victorian fashion

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Speaker 1: or colonial fashion, the stuff that was done during that

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Speaker 1: late UH nineteenth century colonial era, like in in UH

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Speaker 1: in India. So you'll see a lot of steampunk that

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Speaker 1: takes design elements from that as well. But the the

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Speaker 1: idea of creating this sort of science fiction world based

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Speaker 1: on the Victorian era of technology is a little more moderate.

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Speaker 1: I mean, their inspiration comes from writers that we're writing

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Speaker 1: around that era, but later writers really kind of brought

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Speaker 1: that back up, like William Gibson and Bruce Sterling who

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Speaker 1: wrote The Difference Engine, which kind of brought this aesthetic

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Speaker 1: in to UH. The idea of well, what if we

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Speaker 1: take this basic form of technology and then go a

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Speaker 1: different evolutionary path than what we actually in reality took.

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Speaker 1: And so this created this sort of idea of neo

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Speaker 1: Victorian UH technology and you really you think about you

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Speaker 1: would have advances in certain areas but not advances in others,

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Speaker 1: and it's really arbitrary where those advances are. So, for example,

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Speaker 1: in a steampunk world, you might have the equivalent of

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Speaker 1: personal computer devices, even handheld computer devices, although they'd probably

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Speaker 1: be clunkier and made out of different materials than what

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Speaker 1: our current ones are, But you might not have airplanes.

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Speaker 1: Because the blimps indirigibles are incredibly popular with the steampunk crowd.

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Speaker 1: It's this idea of this sort of world of of

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Speaker 1: luxury and uh, everything's a lot more. Uh, it takes

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Speaker 1: up a lot more space than what we're typically used to.

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Speaker 1: But I think the person who really kind of nails

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Speaker 1: why the steampunk aesthetic is so compelling to certain people

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Speaker 1: is Mark Fraunfelder, who was a he's the editor in

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Speaker 1: chief of Make magazine and was the co founder of

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Speaker 1: Boing Boing Yes, And he says the Victorian era was

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Speaker 1: the great age of the amateur, where non professionals could

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Speaker 1: contribute to the advancement of science. And because these amateurs

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Speaker 1: were most often well healed gentleman, great emphasis was placed

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Speaker 1: on ornamental beauty in their equipment. So the idea here

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Speaker 1: is that the average person with with the right education

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Speaker 1: would be able to make advances in science and technology,

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Speaker 1: whereas today you're talking about really specialized, really advanced fields. Right,

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Speaker 1: it feels like you have to be part of a

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Speaker 1: much larger project often in order for you to make

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Speaker 1: a big impact in those areas. It's not entirely true,

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Speaker 1: but it's more true than not. So the Victorian era

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Speaker 1: was a time where you could be on the cutting edge.

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Speaker 1: You could be an average person with a good education

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Speaker 1: and be on the cutting edge of science and technology

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Speaker 1: at that time and thus be able to make your

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Speaker 1: own impact on it. So that is one of the

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Speaker 1: reasons why it's so compelling. Also with the emphasis on ornamentation,

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Speaker 1: so um, it's it's funny that you would bring that up.

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Speaker 1: Was that, well, I mean one of the uh Now,

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Speaker 1: one of the things that you'll find if you start

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Speaker 1: looking for UH steampunk and search engine on the computer,

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Speaker 1: one of the first things you're going to find is

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Speaker 1: UH clothing. You know, lots and lots of of well,

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Speaker 1: i mean existing clothing that you know. I'm sure that

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Speaker 1: people are really excited about because they really wanted to

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Speaker 1: make lots of bowler hats but couldn't figure out why

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Speaker 1: no one would buy them or top hats anymore, and

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Speaker 1: all of a sudden they're going. Steampunk has really increased

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Speaker 1: the demand for certain articles of clothing. Yes, loves and

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Speaker 1: vests and pocket watches. Crazy and and some of these

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Speaker 1: pieces of clothing don't necessarily have any uh added ornamentation

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Speaker 1: to them. They may very well be essentially a Victorian costume,

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Speaker 1: but then you would might have a coutrement which makes

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Speaker 1: that go beyond a period costume and turn it more

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Speaker 1: into steampunk. Yes. For example, goggles seems extremely popular. Well,

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Speaker 1: they almost throw requirement with the steampunk costume. Um. Yes,

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Speaker 1: And I'm not making fun of anybody who who does

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Speaker 1: steampunk and likes goggles. It just seems that they're ubiquitous

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Speaker 1: and it's not uh, well, you think about the early

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Speaker 1: people who were driving or flying, Um, they wouldn't have

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Speaker 1: a windscreen necessarily. Yeah, so you you'd see that, you know,

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Speaker 1: they'd have their their driving outfit where they had the

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Speaker 1: gloves and the hat with the goggles to keep the

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Speaker 1: dust out of your eyes. Very necessary. But the funny thing,

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Speaker 1: and I I find this amusing, but not again not

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Speaker 1: in a making fun way just sort of, um, that's

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Speaker 1: kind of funny sort of way. Um, the people who

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Speaker 1: some of the people who do who dress in the

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Speaker 1: steampunk fashion embrace the the clothing, will you know, use

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Speaker 1: unadorned goggles just sort of the same kind of thing.

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Speaker 1: But I've seen others that have really modified them with

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Speaker 1: brass fittings, hands flares and things that you know, really

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Speaker 1: make them stand out. And they're they're very large, and

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Speaker 1: it's just it's kind of amusing to me because I'm going, Wow,

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Speaker 1: you're really going out of your way to draw attention

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Speaker 1: to the goggles. Well, and they might they might have

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Speaker 1: a to they might have attachments where they have different

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Speaker 1: filters like glass exactly. Yeah, like a like a magnifying

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Speaker 1: lens that you can swivel in or out of the way. Well, yeah,

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Speaker 1: it's it's and again there you have the idea of Well,

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Speaker 1: the practicality would be if you are a tinkerer, then

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Speaker 1: you would have this magnifying glass. You can see the

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Speaker 1: very small intricate parts because you're doing all this work

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Speaker 1: with your hands, at least in theory. You know. Now,

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Speaker 1: a lot of the people who are into steampunk do

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Speaker 1: not necessarily make their own gear. But the folks who do, uh,

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Speaker 1: take a lot of pride in it, you know, because

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Speaker 1: again these are works not just of technology or costume,

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Speaker 1: their works of art. You know, there's there's artistry that

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Speaker 1: goes into this. Although there are those who will say that,

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Speaker 1: you know, there are plenty of people out there who

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Speaker 1: are into steampunk who what they'll do is they'll get

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Speaker 1: a costume to throw on a pair of goggles. They

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Speaker 1: might wear a necklace has a gear on it and boom,

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Speaker 1: it's steampunk. Uh. Then there are others who will go

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Speaker 1: into great detail on their costumes and incorporate these really

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Speaker 1: intricate pieces of equipment and even come up with very

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Speaker 1: uh whimsical names for for the things, because you know,

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Speaker 1: they're they're using that Victorian naming convention where it's almost

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Speaker 1: like Louis Carroll has named all of their items where

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Speaker 1: it's it's this odd you know, nothing is nothing, thing

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Speaker 1: is a simple device. They're all going to be adorned

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Speaker 1: with these very elaborate names. Um Like, for example, instead

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Speaker 1: of saying a computer, you might say that it is

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Speaker 1: a manipulator of random information or something like that. Yeah,

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Speaker 1: it's um, you know, the the or you it's some

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Speaker 1: variation on the difference engine, because they're actually that's a

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Speaker 1: good example to say, if you've ever seen an picture

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Speaker 1: of the replica of Babbage's difference Engine, people have actually

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Speaker 1: built the difference engine. Ah. It's a massive device made

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Speaker 1: out of brass and other medals, and you see all

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Speaker 1: these gears and things that you turn and that's how

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Speaker 1: you work this, this difference engine. That speaks a lot

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Speaker 1: to the aesthetics of that Victorian era where you've got

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Speaker 1: you know, it doesn't need to look sleek. It can

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Speaker 1: look complicated, complicated and even bulky, but it's done in

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Speaker 1: such a way that it's uh emphasizing the aesthetic not

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Speaker 1: you know, it's not it doesn't look like a big

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Speaker 1: clunky piece of equipment ideally unless that was, of course

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Speaker 1: the intent from the big get go. But yeah, if

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Speaker 1: you if you look up these devices, you'll often come

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Speaker 1: across names that are just uh, you know, really tongue

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Speaker 1: twisters and and you know there's usually an ether thrown

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Speaker 1: in there somewhere like it uses it uses the ether,

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Speaker 1: this this nebulous source of energy. Um one uh one

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Speaker 1: really cool thing about steampunk and it it could be

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Speaker 1: frustrating for somebody who's getting into it UM who may

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Speaker 1: need a little bit more UM structure. Is that unlike

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Speaker 1: other UM hobbyists and cost players and and you know,

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Speaker 1: groups of of that style. UM, you don't have like

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Speaker 1: a Star Trek universe or a Star Wars universe or

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Speaker 1: a Lord of the Rings. You don't have something that

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Speaker 1: tells you what is and what isn't steampunk. So for example,

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Speaker 1: you have somebody who dresses in Victorian garb and they

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Speaker 1: are speaking uh, you know English, with the the verbal

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Speaker 1: expressions that they might use in yes, the vernacular of

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Speaker 1: the time. However, uh, they might have a uh, they

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Speaker 1: might use a computer with brass fittings and ornamentation on

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Speaker 1: the front. Or they might carry ray guns of the

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Speaker 1: buck Rogers, talking like old style buck Rogers, you know,

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Speaker 1: with the big bulgy stuff in the big um cannab

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Speaker 1: on the on the shooting end. So it could be

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Speaker 1: anything could be steampunk because there's not you're not having

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Speaker 1: to go, well, that's cannon or that's not cannon. So

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Speaker 1: it could be kind of anything you wanted to be.

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Speaker 1: If you if you look at UM like you know weather,

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Speaker 1: you know weather industries, whether the effects companies that did effects. Yeah,

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Speaker 1: they did the They did a lot of the props

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Speaker 1: for the Lord of the Rings movies. Um, they have

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Speaker 1: a division called Dr groad Boards uh and it's uh

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Speaker 1: Dr gord boards ray guns essentially, and these are the yes, yes,

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Speaker 1: beautiful devices. But these are all designed after that old

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Speaker 1: science fiction aesthetic, which definitely is related to steampunk, but

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Speaker 1: it is not necessarily It isn't isn't because because some

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Speaker 1: of the ideally the steampunk type stuff should look like

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Speaker 1: it's technology that runs on Victorian era resources, thus the

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Speaker 1: steam the steam power being far more nah common than

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Speaker 1: other forms. Now there are other forms of of this

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Speaker 1: punk aesthetic to there's diesel punk. Yeah, I was gonna

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Speaker 1: mentioned that you had done something on that. Yeah, diesel

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Speaker 1: punk is a slightly later era. It's usually like World

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Speaker 1: War One era technology aesthetic. So the aesthetic is different

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Speaker 1: the you know, and you would argue that the whatever's

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Speaker 1: running the technology is a different source of energy, but

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Speaker 1: it's the same sort of idea that you're taking this

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Speaker 1: aesthetic from a different time period and applying it to

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Speaker 1: modern day clothing, electronics, all sorts of stuff. I have

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Speaker 1: an example that I wanted to mention something that I

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Speaker 1: thought was really clever in the sense that a lot

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Speaker 1: of the steampunk projects you'll see are not just beautiful

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Speaker 1: but are also equally um impractical. But but they're impractical

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Speaker 1: on purpose. They're not, you know, it's practicality was not

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Speaker 1: part of the design element. So one of those is

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Speaker 1: what It's a project that was created by John Knight,

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Speaker 1: as in, uh, let's get up on a horse and

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Speaker 1: have a squire Knight he created something that he calls

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Speaker 1: the electromagnetic Geospatial Globe and remote view with obligatory goggles

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Speaker 1: and goggles have to be in there. But this is UH,

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Speaker 1: this is his version of Google Earth and what it is.

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Speaker 1: What what he can do is he runs Google Earth

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Speaker 1: on a computer and this globe, this it looks like

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Speaker 1: a big brass globe is hooked up to the computer.

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Speaker 1: So as he uh moves a little UH indicator on

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Speaker 1: the physical globe, the virtual globe on Google Earth will

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Speaker 1: turn and show whatever point is in focus on his

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Speaker 1: indicator on the screen. So, in other words, it's a

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Speaker 1: way to navigate Google Earth using a physical globe and

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Speaker 1: UH it's kind of an interesting um approach. It again

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Speaker 1: not necessarily practical, but definitely very visually arresting, very pretty. Uh.

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Speaker 1: There are a lot of really well known artists within

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Speaker 1: the steampunk world. Uh, two of them I wanted to

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Speaker 1: mention in particular. Although there are lots and lots of them,

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Speaker 1: don't don't think that you know these are like the

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Speaker 1: end all be all. But one of them in particular

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Speaker 1: is known for his his work as as sort of

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Speaker 1: a pioneer in the steampunk physical Let's make stuff space,

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Speaker 1: and that's Jake von Slat. Jake von Slat has done

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Speaker 1: lots and lots and lots of of projects where he's

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Speaker 1: taken either modern day technology and and put new stuff

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Speaker 1: on it to make it have a steampunk sort of aesthetic,

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Speaker 1: or has actually built steampunk style devices from the ground

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Speaker 1: up that do something that a modern device could do

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Speaker 1: in a totally different way. So he's he's taking both

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Speaker 1: approaches where he's altering something that exists now or building

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Speaker 1: based upon the old methods of building. UM. He's featured

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Speaker 1: in in Make magazine actually up of years ago, and

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Speaker 1: I have an article on the site how Steampunk Works,

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Speaker 1: and I have some of his work on there as well. Uh.

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Speaker 1: He has a website called the Steampunk Workshop where he

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Speaker 1: actually shows you if you want to build your own

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Speaker 1: steampunk devices. He has do it yourself guides on how

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Speaker 1: to do them. Now, for people who want to get

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Speaker 1: into this, you have to be really comfortable with using

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Speaker 1: things that allow you to work with metals, like soldering

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Speaker 1: is really important. Uh, you might need you might need

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Speaker 1: access to special tools to be able to work metals

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Speaker 1: in a way so that you can shape them and

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Speaker 1: not just metals, but would as well, you know, all

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Speaker 1: sorts of materials. So you're it's for someone who has

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Speaker 1: like a workshop space that has uh the ability to

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Speaker 1: use or the access to use these sort of tools.

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Speaker 1: It's not necessarily something that you can do just you know,

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Speaker 1: go home and fire up the website. Oh well cool,

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Speaker 1: I'm gonna make my own steampunk laptop now. Because a

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Speaker 1: lot of this involves uh, eating things and in curiosity

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Speaker 1: shops or antique shops or or even like you know,

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Speaker 1: there used to be a shop near where I live

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Speaker 1: that sells all sorts of old cabinet fittings, and you

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Speaker 1: you could go to a place like that and sort

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Speaker 1: through and say, oh, this has the look that I'm

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Speaker 1: going for, and you take that and you might repurpose

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Speaker 1: it for something totally different, like instead of this being

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Speaker 1: a cabinet handle, it's going to be the corner the

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Speaker 1: top left corner of a computer display. That kind of thing. Well,

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Speaker 1: you have to be able to, you know, manipulate that

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Speaker 1: metal in whatever way you may have to trim stuff

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Speaker 1: off or reshape something, so you you may need some

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Speaker 1: special tools for a lot of these d I Y projects.

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Speaker 1: But he he actually goes through what he does to

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Speaker 1: to build out these things. And another pretty well known

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Speaker 1: artist in fact, I remember seeing some of his work,

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Speaker 1: uh in the sci fi series Where House thirteen. So

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Speaker 1: Where House thirteen, you know, you've got these these interesting

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Speaker 1: pieces of technology that are in artis office where he's

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Speaker 1: got like a computer that has these old typewriter keys

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Speaker 1: instead of regular keys. Those were built by a guy

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Speaker 1: named Richard doc Nagi also known as data Manser and

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Speaker 1: data Manswer has done some really amazing work with custom keyboards, laptops, uh,

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Speaker 1: desktop computers. He's really created some neat stuff, and not

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Speaker 1: just in the steampunk aesthetic. He's also branched out. He

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Speaker 1: did some in a sort of an Art Deco inspired

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Speaker 1: approach as well. So he's he's tried a couple of

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Speaker 1: different things. He takes commissions um, and his work is

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Speaker 1: really really labor intensive, so they are expensive things to buy.

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Speaker 1: But on the other hand, these are devices that are

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Speaker 1: made by hand from materials that are more expensive than plastic.

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Speaker 1: So the expense is in not just the labor but

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Speaker 1: also the artistry that goes into it. So you know,

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Speaker 1: you might sit there and think, oh, my gosh, that's

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Speaker 1: a keyboard. I can't spend twelve buying a keyboard from

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Speaker 1: my computer. But then you think, all right, when you

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Speaker 1: factor in the materials that went into it, how much

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Speaker 1: time was spent for him to track down all the

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Speaker 1: different stuff that he used to make it, and also

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Speaker 1: just the hours of of work that he puts into it,

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Speaker 1: then you start figuring, Okay, now it's it's a work

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Speaker 1: of art that I'm buying, not just a functional piece

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Speaker 1: of technology. Yeah. Yeah, well, I mean there are there

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Speaker 1: are people who actually make their living modifying people's living spaces. UM.

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Speaker 1: I went to a Modern Victorian which is at mad

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Speaker 1: vic dot com, and they basically remake people's homes into

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Speaker 1: steampunk like environments. Um. You know, wood burning stoves and um,

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Speaker 1: you know, portholes and things that you might see big

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Speaker 1: big gears that you would turn in order to open

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Speaker 1: the door and of a regular door knob. Yes, yes,

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Speaker 1: I mean just that that kind of thing. And if

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Speaker 1: you've got the uh, either the ability to do it

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Speaker 1: yourself or the wherewithal to pay someone who knows what

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Speaker 1: they're doing, um, you can do that too. But just

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Speaker 1: the creativity that that's involved in doing that, and even

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Speaker 1: even something as simple as you know, the keyboards that

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Speaker 1: you see with the typewriter keys instead of uh computer keys. Um,

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Speaker 1: it's just kind of fascinating. I saw one computer desk

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Speaker 1: that had uh pipes behind it or you know at

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Speaker 1: the back where it made it look sort of as

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Speaker 1: the as though the computer we're sitting in as part

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Speaker 1: of a pipe organ and it was just kind of

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Speaker 1: cool the the idea behind that. Um. But yeah, I mean,

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Speaker 1: these these are all I mean, there's there's no large

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Speaker 1: company that I can think of that that makes this

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Speaker 1: stuff in in amounts that make it would make it

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Speaker 1: cheap for the average person to own one of these.

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Speaker 1: You know, this is all done by hand, but you

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Speaker 1: know you can also say, uh, you know, it's it's

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Speaker 1: done custom work. Not everybody is going to own something

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Speaker 1: like this, Um, there are a lot of one of

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Speaker 1: the kind pieces out there. Yeah, and it's also an

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Speaker 1: opportunity for uh, for you know, the casual hacker to

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Speaker 1: maybe try his or her hand at something like this. Yeah.

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Speaker 1: I mean this is you know, their plans and and

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Speaker 1: and things like this, and not all the projects are

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Speaker 1: super complex. And that's that's sort of again, that's the

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Speaker 1: whole point that uh that was made about the appeal

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Speaker 1: of steampunk in the first places, that you are creating

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Speaker 1: something that's much more personal to you. You know, it's

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Speaker 1: not this mass produced piece of technology that looks exactly

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Speaker 1: like every single other version of that particular device, right

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Speaker 1: like every iPhone, like every iPhone four looks like every

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Speaker 1: other iPhone four until you put like a skin on

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Speaker 1: it or put a case around it or whatever. But

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Speaker 1: you know, on its own, they all look the same.

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Speaker 1: And it's this the approach to mass manufacturer that has

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Speaker 1: created core sort of a homogenized approach to technology. And

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Speaker 1: this is kind of a rejection of that, saying I

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Speaker 1: want something that has more personality to it. It's just

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Speaker 1: that this is a personality that evokes a very specific

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Speaker 1: feel and era. So it's interesting because every year that passes.

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Speaker 1: I think, Okay, steampunk has gotta like that. That fat

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Speaker 1: is got to be on the decline by now, because

396
00:24:29,320 --> 00:24:31,800
Speaker 1: there are artists who get into it and they're really

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Speaker 1: really active in it for a couple of years, and

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Speaker 1: then some of them are saying, you know, I really

399
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Speaker 1: want to do other stuff. I had fun with that,

400
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Speaker 1: it was great, But as an artist, I want to grow,

401
00:24:41,320 --> 00:24:43,760
Speaker 1: so I want to try different things. So I often

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00:24:43,840 --> 00:24:46,359
Speaker 1: expect to see that kind of trickled down to the

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Speaker 1: general uh steampunk niche, Like I was gonna say general public,

404
00:24:52,320 --> 00:24:56,080
Speaker 1: but really steampunk is a very specific niche of people. Um,

405
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Speaker 1: but so far that hasn't really happened. We'll have to

406
00:25:00,080 --> 00:25:02,359
Speaker 1: keep your eyes open, because I mean, I find it

407
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Speaker 1: a very compelling aesthetic myself. I really do like the

408
00:25:06,080 --> 00:25:08,840
Speaker 1: look of it and uh and and it does have

409
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Speaker 1: an interesting um impact on me emotionally when I see

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Speaker 1: something that's been really well designed and a very clever design.

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Speaker 1: Because well designed and clever again, doesn't necessarily mean that

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Speaker 1: the device is practical. Sometimes the more impractical it is,

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Speaker 1: the more enjoyable one is. Yeah, that's true, that's true. Well,

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Speaker 1: I mean it's a it's a human thing I think, um,

415
00:25:30,480 --> 00:25:37,760
Speaker 1: and yeah, I am fascinated by alternate histories and anachronisms. Um,

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Speaker 1: you know it it the what IF's if you will

417
00:25:42,359 --> 00:25:45,359
Speaker 1: um and just to imagine the like the the what

418
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Speaker 1: if you know you have a steam steam powered world

419
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Speaker 1: with the internet. You know, how could those things go together?

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Speaker 1: You know, handwriting messages and sticking them in pneumatic tubes? Yep, yep.

421
00:25:58,960 --> 00:26:01,720
Speaker 1: You know. My dad start writing a science fiction novel,

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00:26:02,240 --> 00:26:07,199
Speaker 1: uh that was based in a steampunk type world and uh,

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Speaker 1: sadly he was one of those projects that never they

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Speaker 1: never completed. But it was funny because when he was

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00:26:13,320 --> 00:26:17,600
Speaker 1: writing it, it was before steampunk had really become a thing.

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00:26:18,080 --> 00:26:21,040
Speaker 1: Like there were some examples, early examples in the genre,

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00:26:21,560 --> 00:26:24,400
Speaker 1: and I think had he had he completed, it would

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00:26:24,400 --> 00:26:27,320
Speaker 1: have been one of them. It certainly would have been

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00:26:28,040 --> 00:26:32,440
Speaker 1: an interesting addition to the library of literature that supports

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00:26:32,520 --> 00:26:36,040
Speaker 1: this genre. Uh. Of course, we'll never know, because it's

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00:26:36,240 --> 00:26:38,080
Speaker 1: I mean, maybe one day he'll go back and finish it,

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00:26:38,200 --> 00:26:40,480
Speaker 1: but by then it's gonna seem like he's you know,

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00:26:40,600 --> 00:26:42,760
Speaker 1: following a trend as opposed to being on the forefront

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00:26:42,800 --> 00:26:46,040
Speaker 1: of it. At least it's not another vampire book. You

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00:26:46,119 --> 00:26:51,159
Speaker 1: know it's funy you mentioned it's the steampowered vampires. There's sparkle. No,

436
00:26:51,560 --> 00:26:54,640
Speaker 1: not at all, not even a little. It's a steampowered

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00:26:54,720 --> 00:26:57,119
Speaker 1: vampire that sparkles in the daylight. But he gets invited

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Speaker 1: to go to a wizard college. No where, it's with

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00:27:00,560 --> 00:27:02,919
Speaker 1: were wolves, right, I wonder how many more I can

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00:27:03,000 --> 00:27:05,840
Speaker 1: fit in there. Uh, there's a Chicago detective who's also

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00:27:05,880 --> 00:27:08,680
Speaker 1: a magician who shows up. No, uh, none of this

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00:27:08,840 --> 00:27:10,520
Speaker 1: is true. And there's a good cop in a bad

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00:27:10,640 --> 00:27:16,960
Speaker 1: cop right, and the bad cop is three days from retirement. Um. No,

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00:27:17,040 --> 00:27:19,760
Speaker 1: we're gonna stop throwing in random references now. No, but

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00:27:19,880 --> 00:27:23,400
Speaker 1: he really did have a fantastic idea that I got

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00:27:23,480 --> 00:27:25,320
Speaker 1: to read the early chapters and I was really excited.

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00:27:25,359 --> 00:27:27,880
Speaker 1: I was very sad when that project fell through. But anyway,

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00:27:28,000 --> 00:27:30,080
Speaker 1: maybe one day that will happen. That's neither here nor there.

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Speaker 1: I'm gonn. I'm going to conclude this podcast on that note. So, guys,

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00:27:33,960 --> 00:27:36,520
Speaker 1: if you have any suggestions for topics we should tackle

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00:27:36,680 --> 00:27:39,800
Speaker 1: in the future, let us know, or in the past

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00:27:39,880 --> 00:27:43,679
Speaker 1: and an imagined in a in an alternate present, let

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00:27:43,800 --> 00:27:48,199
Speaker 1: us know, right are real world? This is it email

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00:27:48,240 --> 00:27:51,800
Speaker 1: address tex Stuff at Discovery dot com or contact us

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00:27:51,840 --> 00:27:54,840
Speaker 1: on Twitter or Facebook. Our handle at both those locations

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00:27:55,000 --> 00:27:57,600
Speaker 1: is tech Stuff hs W and Chris and I will

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00:27:57,600 --> 00:28:01,240
Speaker 1: talk to you again really soon for more on this

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Speaker 1: and thousands of other topics. Is it how staff works

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Speaker 1: dot com? Brought to you by the reinvented two thousand

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Speaker 1: twelve camera. It's ready, are you