Punk Punk

Steampunks wielding clockwork-activated switchblades got into futile staring contests with cyberpunks in their surgically-implanted mirrorshades.
Plan 7 of 9 from Outer Space

In the 1980s, authors like William Gibson and Bruce Sterling wrote dystopian novels set Twenty Minutes into the Future, where they explored themes such as the impact of modern technology on everyday life, the rise of the global datasphere as an arena for communication, commerce, conflict, and crime, and invasive cybernetic body modifications. The heroes of these in dark and cynical stories were marginalized, disillusioned, and rebellious "punks" striving for survival against overwhelming odds, often futilely, in corrupt megacities and surreal cyberspace realms. Bruce Bethke called this Cyberpunk, and it was good.

As a new generation of authors explored and expanded this new realm of fiction, the punk genre evolved. Many stories began to depart from the nihilistic tone and introspective focus of the early works of cyberpunk, expanding the genre to encompass a wider range of characters and broader plots and settings. The original angsty punks began to find themselves side by side with fewer melodramatic nihilists surrendering to their fates, and more of a new breed of punks. These newcomers are often still fully aware of the Crapsack, Half Full (or, rarely, Crapsaccharine) state of their worlds, and the protagonists are still nearly always outsiders, but to these punks the world isn't unlivable or irreparable, and the fight for survival may not be so futile. Some even go so far as to embrace the worlds they live in, and find a niche they can thrive in on the fringes of society. Others remain Rebels and outsiders- but now they stand not alone, but together, and they may even have a cause, even if they remain fully aware that they are likely doomed. Success isn't guaranteed- but it can help the odds when you aren't bound up by things like playing fair and don't really care about keeping the moral high ground.

William Gibson and Bruce Stirling's The Difference Engine was a landmark book, codifing a new movement grafting the cyberpunk asthetic into an alternate Victorian era where electromechanical calculators had been embraced instead of treated as a novelty, spawning a cascade of advanced technology powered by steam engines and clockwork computation. For obvious reasons, this was soon dubbed "steampunk". This opened the floodgates for numerous Punk Punk genres, spreading punkness to other time periods and settings ranging from the distant past to wildly varied possible futures. Common for all such genres is that the technology (and/or magic) level is turned way up, an ultra-modern sensibility is grafted on (or its absence is highlighted), and the world is frequently either an ultra-regulated Privately Owned Society, a world in turmoil, or some combination of the two. Badass Longcoats wearing mirrorshades and adventurers sporting goggles and toolbelts are a common sight, as are brilliant eccentric tinkerers in garage laboratories building fantastical feats of SCIENCE! and Impossibly Cool Weapons from scavenged parts.

No relation to "splatterpunk", a horror subgenre, aside from having attained popularity at about the same time. Tangentially related to Punk Rock, in that both often have the same antiauthoritarian underpinnings, but other than that they don't really overlap much.

Shared genre conventions

Technology (and/or Magitek)...
  • ... is ubiquitous and, in retro-futuristic settings, considerably more advanced than that available in the corresponding period.
  • ... is a means to control the public. The actual form of government varies, but it is usually somewhat sinister and oppressive (Dystopia, duh?).
  • ... provides some kind of medium for global or at least wide-ranging communication that is driven by research and/or business, piggybacked by military/political needs.
  • ... is a strategic resource. In our timeline, this started in the 19th century with railroads, the telegraph, and the machine gun; in later settings wars are lost and won in cyberspace, before the army even leaves its barracks. Speaking of the army, while most of the soldiers are using relatively crude weaponry, there will often be an organization whose units pack state-of-the-art weapons and equipment for black-ops work.
  • ... is regularly applied in transhumanistic ways, i.e. to make people stronger, faster, more perceptive, etc — for instance through body modifications/prosthetics. The science of medicine is typically quite sophisticated.
  • ... can create Artificial Humans, Clockwork Creatures, or Ridiculously Human Robots.
  • ... is developed with little regard for harmful consequences to society or nature.
  • ... is found throughout the world as artifacts of a lost golden age, variously viewed by individuals as precious objects of study, useful curiosities, or dangerous black magic that destroyed the world.

If there is magic, it may...
  • ... be simply another branch of science that provides Magitek, or
  • ... be Maybe Magic, Maybe Mundane, or
  • ... have to do with powers and beings beyond human experience or
  • ... actually be a form of science applied in a sufficiently advanced way without full understanding, part Lost Common Knowledge, part Lost Technology. Fun Fact 

It typically does not involve divine miracles, and will not depend on faith. Nor does it require a Deal with the Devil note  Magic users might suffer deleterious side-effects or risk their own sanity, especially if this power does stem from forbidden sciences or knowledge. Spells occasionally go horribly right.


A Punk Punk variant either exchanges the basic technology for that of another historical period or mixes in another genre.

By period

By genre: