Neo-Victorian Afterlives: Time, Empire, and the Occult in Final Fantasy VIII

The Final Fantasy video game series is famous for its idiosyncratic narratives and eclectic references to different historical time periods. Often using concrete eras and locales as inspiration for their imagined fantasy-based worlds, the series has oscillated between medieval, steampunk, futuristic, Mediterranean, and Western settings. But what happens when a title modernizes specific aspects of nineteenth-century culture and represents them in a stylized format for the contemporary consumer? In the 1999 Japanese Role-Playing Game, Final Fantasy VIII, which was recently

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‘[T]he Dickensesque run mad’: Continuities and Ruptures in the History of the ‘Dickensian’

This blog post reflects on Dickens’s legacy as captured in the term ‘Dickensian’, from early uses of the term to what the events of 2020 might mean for study of his afterlife. It also introduces a new open access edited collection, Dickens After Dickens (White Rose UP, 2020), which explores some of the forms in which Dickens’s influence has manifested from the nineteenth century to the present, from his influence on writers including Bjørnstjerne Bjørnson, William Faulkner and Donna Tartt

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BBC’s 2020 Dracula and its Others

Remakes of Victorian novels abound in the twenty-first century. While Dracula seems to be a particular favourite for re-writes, we seem consistently drawn back to the Victorian era for our gothic monsters: The Limehouse Golem, Penny Dreadful, Jekyll + Hyde, Sweeney Todd, and many more.[1] Beth Palmer describes these almost Freudian re-imaginings as ‘dramas which are often […] seeking to re-stage, in different ways, the neo-Victorian double-act of surprise and recognition: the Victorians were so strange; the Victorians were strange

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