lantern city and the politics of steampunk literature

 Steampunk literature is a snarky criticism of the dark, corrupted undercurrent to technological “progress.” Intentionally, the graphic novel series Lantern City positions the protagonist, Sander Jorve, as a hero born into subjugation—a hero who must act from within that status to survive and protect his precious family. The series demonizes class stratification, shows the laboring class as capable and deserving heroes, and frames heroism in the language of duty, survival, and transformation. Daley and Jenkins’s graphic novel series Lantern City (2015–2016) delivers a political message about the survival and empowerment of working-class heroes.

To start, “Steampunk” is a term used to describe a retro-futuristic subgenre of science fiction that combines elements of Victorian-era aesthetics with steam-powered technology. It is often visually depicted with engines, gears, and old manufacturing equipment that were prevalent during this historical period. Steampunk appears in art and literature as a political statement. It is political because it represents the labor exploitation that ran rampant during the Victorian Era, from the mid-19th century to the early 20th century, including widespread child labor, dangerous working conditions, low wages, and the exploitation of immigrant and nonwhite workers. Children worked long hours in factories, mines, and other industries for a fraction of adult wages.

Occurring prior to the Victorian Era was the Industrial Revolution, which lasted from the 18th century to the early 20th century. It fostered greed and classism in the early foundation of the United States and led to the first creation of labor unions. These unions sought better working conditions and created a working-class culture. Steampunk depicts this culture through its eerie glorification of man against machine. As Fife explains, Steampunk is “a cultural movement appearing to be primarily about aesthetics [that] offers its practitioners an alternative to a human imaginary that has been colonized by capitalism and at the same time demands a new and more human-centered form of technology” (Fife 31).

Early in the series, we see Sander Jorve and other working-class members living and working long hours in the fields. Their dangerous, grueling labor barely keeps them afloat while perpetually confining them to classist exploitation. Jalta, where Lantern City is located, represents a clear class hierarchy: the walled, elevated enclaves for the Greys, fortified privilege enforced by armed guards, and the crowded, dark labor quarters below. This setting functions as an allegory for capitalist class stratification—those who own or control (the Greys), those who enforce that control (the Guards), and those who sell their labor to survive (the Workers). The design and plot constantly emphasize that political power and resources are commodities distributed according to class.

This political theme of classism is frequently paired with Steampunk. The Grey Guard controls Lantern City’s lower class through both physical force and economic manipulation. Food, housing, and safety are distributed according to obedience, not merit. Steampunk literature often highlights how the working class is worn down and forced to depend on a corrupt government that neglects them in return.

Moreover, in the third volume of the Lantern City series, Sander Jorve goes from harvesting yellowberries to joining the Grey Guard. Sander and his family face a moral dilemma—joining the side of their oppressors instead of remaining the oppressed. This internal conflict leads them to struggle with their changing identity. “It’s not as simple as right and wrong anymore. From up here, the world looks different” (Craft 66). This quote challenges the reader’s perception of the Greys. Although they are painted as villains in the first and second volumes, the third complicates this narrative.

Linzel says, with a gun pointed at Emperor Grey, “I fight for the city you once promised me—a city where we aren’t worked to death, a city that allows us to educate ourselves, a city where we can walk the streets without fear of Killian or Pont” (Craft 51). This reiterates the protagonists’ intentions and the drive that mobilizes Sander throughout the series. It is inherently political because it proposes how government should function. Linzel expresses a progressive vision of Jalta—one built on equality and peace.

Importantly, there is a recurring theme in Steampunk literature of exploitative economic systems that push ordinary workers toward political action or criminal economies—smuggling, sabotage, or rebellion—as survival strategies. Sander Jorve and his family get involved in this conflict out of necessity, not desire. The same is true for many Americans today, who are exploited by corporations designed to perpetuate this cycle of corruption. The plot shows families driven into rebellion or illicit markets after being squeezed by the system.

Lantern City also depicts how capitalist exploitation produces unrest and informal economies as coping mechanisms. The lower class is often forced into the prison industry because they receive insufficient pay and are excluded from better opportunities due to race, religion, sexuality, and financial status. Poverty is depicted through the dark, overpopulated lower levels and the numerous factories—clear signs of Steampunk influence. Illustrator Carlos Magno uses deep shadows, muted browns and grays, and narrow vertical panels to convey how workers are literally boxed in by the city’s infrastructure. It’s suffocating down there. The working class makes up the majority of Jalta’s population, while the elite live in the upper part of the city, enjoying bright artificial light and beautiful architecture.

Urbanization is another strong element of the Industrial Revolution that inspired Steampunk literature. During the early 20th century, factories drew people from rural areas to cities for work, leading to rapid and often unplanned urban growth. This growth created the melting pot of the United States.

Although Steampunk literature is arguably a “niche” subgenre, its influence on modern political ideology is worth celebrating. In a world where a stroke of chance can determine whether someone is pampered with privilege or thrown to the figurative “wolves” of greedy corporate capitalism, Steampunk shines a light on overlooked working-class heroes. These characters sacrifice parts of themselves for survival, giving them dignity and purpose worth commending. Lantern City represents workplace hierarchies, governmental corruption, and the double-edged sword of technological innovation. Jenkins and Daley’s storytelling leads readers to question whether their own government is a force for good or evil and to speculate about the true intentions of their leaders. Steampunk literature is a force for democracy.

Citations:
Fife, W. (2022). Steampunk as Stealth Politics. In Imaginary Worlds. Palgrave Studies in Literary Anthropology. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-08641-0_2