This is going to be a massive !@#$@#$ project.
Like, !@#$.
I'm going to, over the course of months, perhaps, or years, look at the different major theories when it comes to what the origins of fascism are. I'm going to keep the articles as specific descriptions of the theories, because fascism is one of the slipperiest ideologies in existence, not only because everyone denounces their enemies as fascists, but also nearly every autocratic movement in Europe and Latin America in the early 20th
Writing about cultures or subcultures isn’t my exactly my bag—I’m not a sociology major or a media or gender studies major. In fact generally I think that, for me, writing about culture is, to some degree, a waste of time. I’m not trained for this sort of thing, so I can’t really see any way for me to write about these things scientifically, or in any way that doesn’t just excuse my own biases. *Note-trained culturists do this too* So, unless I’m some sort of weird intellectual sadomasochist
The rise of steampunk didn’t, on its own, end the interest people had in cyberpunk. It got the people who wore trenchcoats and mirrorshades and thought that this was cyberpunk.
Yeah, a good portion of the genre was the stylistic way it dealt with things, but there was a substance there—the imagery of the lone hacker, or subculture, alienated from society but more aware of it then those marketing execs who call it their job. It came to a large degree out of the alienation felt by those who wer
I !@#$@#$ hate steampunk. Alright, maybe that's inaccurate and hurtful. I don't dislike it as a fashion statement or as an aesthetic, but I'm miffed that this is the thing that's replaced cyberpunk as something the cool kids talk about now a days. It's not entirely steampunk's fault, though.
Cyberpunk based itself on inventions and trends--the internet, wireless connections, globalism--which are now mundane to us. The attitude, as well, is now not only mundane but alien to us (I'll address this
