Wywiad z twórcą steampunk RPG Space: 1889

Andy Frankham-Allen, fan science fiction, pisarz i redaktor, który prowadzi blog The Welsh-Londoner przeprowadził wywiad z Frankiem Chadwickiem. Chadwick jest autorem słynnej steampunkowej gry fabularnej Space 1889. Z wywiadu dowiemy się które filmy miały największy wpływ na grę, mówi też o brytyjskim kolonialiźmie i gwałtownym ożywieniu ruchu steampunkowego.

Andy Frankham-Allen: Frank, you’re the originator of Space: 1889, and after twenty-odd years you now have a unique standing in ‘steampunk culture’. What pulled you to steampunk in the first place, and how did this lead you to create Space: 1889?
Frank Chadwick: I was drawn to steampunk before there was such a thing, or at least before the moniker existed. Although I was an avid reader as a boy, film really was the principal hook which snagged me. The series of Victorian science fiction films released in the 1950s and 1960s were a major influence: Journey to the Center of the Earth, From the Earth to the Moon, First Men in the Moon, The Time Machine, Master of the World, 20,000 Leagues Under the Sea, Mysterious Island, and that amazing Czech film The Fabulous World of Jules Verne. Interestingly enough, I never cared for the 1953 film version of The War of the Worlds, probably because they updated the story to the Twentieth Century. For me, the story was about walking tripods and British troops fighting back with Maxim guns, 18-pounders, and steam-powered ironclad rams. Hovering Martian ships with force fields just didn’t get the job done for me, although having Sir Cedric Hardwick give the opening narration was a nice touch. A second set of influential films were those of the British colonial experience, particularly the early romanticized view of it: The Lives of a Bengal Lancer, King of the Kyber Rifles, Gunga Din, Errol Flynn’s The Charge of the Light Brigade, the 1939 version of The Four Feathers, Khartoum, and of course Zulu. I’ve probably left a bunch out, and a lot of French Foreign Legion films played into this stream as well, but these were the big ones. The Hammer films of the 1960s, particularly the Frankenstein outings were a final group of films of considerable importance. Although tame by today’s standards, there was something dark and sexy about them which played well to an adolescent in the 1960s. Beyond that, Peter Cushing’s Frankenstein broke new ground for mad scientists. No longer the leering, wild-eyed maniac, he played Frankenstein as the most logical and sensible person in the film, at least by his own lights. Cushing’s serious professional approach to the material cranked the willing suspension of disbelief quite a few notches higher as well, and there is a very important lesson to be learned in that: always respect your material.
Przeczytaj wywiad na The Welsh-Londoner

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