Napoleon III’s aetherships dueling the British Empire over Venus. Germans colonizing Mars. The moons of Jupiter, unclaimed and up for grabs. That’s not a geopolitical fever dream — that’s the premise of Castle in the Stars: The Universe in 1875, the gloriously over-the-top artbook from illustrator Alex Alice and French publisher Caurette. The Kickstarter hit its €8,000 goal in eight minutes. EIGHT. MINUTES. It eventually blew past €200,000 and unlocked enough stretch goals to fill an aethership cargo hold, including an official “Invitation to the Interplanetary Exposition.” The Doctor approves of this level of ambition.

The book itself is an in-world artifact: a lavishly illustrated guidebook designed as if it were printed for actual travelers in the Castle in the Stars universe, complete with over 200 watercolor illustrations, travel tips, maps, and enough Jules Verne energy to power a steam-driven orbital cannon. Alex Alice also dropped a companion sketchbook called Prototypes that cracks open his design process from first sketch to finished world. It’s the kind of behind-the-scenes material that makes you want to quit your job and move to 1875 Paris and build a rocket. The full Kickstarter run is a 2022 artifact, but copies are still findable through Caurette’s store (last items in stock, so move your gears). High-5, Monsieur Alice. High-5.

Via: Caurette Editions

The internet keeps mashing these two together, and the Doctor has had enough. AtomicPunk is the dark side of the atom: duck-and-cover drills, fallout shelters in the backyard, the mushroom cloud looming over every chrome-plated appliance. It is the 1950s screaming at you that progress has a body count. Raypunk is the optimistic lie we told ourselves at the same moment: flying cars, robot butlers, gleaming Googie diners, The Jetsons as sincere prophecy. Same era, opposite emotional register. One says “we’re all going to die beautifully”; the other says “we’re all going to live forever in a push-button paradise.” Both are wrong, which is exactly why both are magnificent.

The Omega7Red Formulae distinguishes them by what the gears do to you. Apply AtomicPunk to a suburban house and you get a fallout shelter with a cocktail bar and a Geiger counter as the centerpiece. Apply Raypunk to that same house and you get a rotating rooftop pad with a personal jetpack rack and an AI butler who still somehow talks like a 1962 dishwasher commercial. Related? Yes. Identical? Absolutely not, and if you keep calling them the same thing the Doctor is going to start mislabeling YOUR aesthetic subgenre. How would you like to be called “GardenPunk?” Think about it.

The confusion is forgivable because both aesthetics are having an enormous moment right now, as even the genre theorists are noting, riding the wake of Fallout and Oppenheimer. But “big moment” is not an excuse for sloppy taxonomy. The Formulae demands precision. Now you know. High-5.

The street finds its own uses for things, and apparently the street also finds its own uses for rules systems. Shadowrun Anarchy 2.0 just went fully funded on Kickstarter, courtesy of Catalyst Game Labs and Black Book Editions, and if you’ve never played Shadowrun before: imagine the year 2070, magic came back, corporations own everything, elves and trolls are filing W-2s, and you are a street-level criminal with a datajack and a dragon problem. The original Anarchy was a rules-light take on that universe, and 2.0 is the cleaned-up, expanded follow-up. The Omega7Red Formulae recognizes this as CyberPunk operating at full power.

Shadowrun has always been the genre that SteamPunk kids grow up into when they realize the future is a lot grittier than a brass airship. Neon replaces copper pipe, megacorps replace robber barons, and the hacking is way more annoying to run at the table. Anarchy fixes that last part: it strips out the notoriously baroque ruleset and hands you something you can actually finish a campaign with without needing a spreadsheet for your spreadsheet. Catalyst knows what they’re doing here. High-5 to everyone who backed it.

Via: TTRPG Fanatics

The Magnanimous and Beneficent Doctor has been watching inXile Entertainment’s Clockwork Revolution with the patient intensity of a man who has literally survived the end of the world via alchemical formulae. Set in Avalon, a steam-powered metropolis where Lady Ironwood rules by rewriting the past to protect her grip on the future, this first-person RPG hands you the Chronometer: a device that lets you reach back into history, pull a thread, and watch everything downstream change. The Doctor approves of this mechanic on a deeply personal level.

At the Xbox Games Showcase 2026, inXile finally confirmed a 2027 release window on Xbox Series X/S, PC, Steam, cloud, and Game Pass day one. Is that “2027” vague enough to mean December 31st? Yes. Am I going to wishlist it anyway and haunt the Steam page like a brass-goggled poltergeist? Also yes. Brian Fargo says the game already has 750,000 words of dialogue written and will run at least 20 hours on the main story alone. The man does not do things small. This is the same studio that gave us Wasteland 3, and they are putting that chaos energy into a time-bending, class-warfare-soaked, gear-and-soot Victorian city where your choices don’t just matter, they haunt you retroactively. That is either the greatest RPG design philosophy I’ve ever heard, or the Doctor is about to lose three weeks of his life to a save-file spiral. Possibly both.

Nothing can beat old age and betrayal, Lady Ironwood. But the Doctor is coming for your timeline anyway. Wishlist it on Steam. Via: Xbox Wire