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Examining the ambivalent place of the sideshow and the laboratory within Victorian culture and its reimaginings, this essay explores the contradiction between the narratively orchestrating role and peripheral location of the sideshow in Leslie Parry’s Church of Marvels (2015) and the laboratory in NBC’s Dracula (2013–2014), reading these neo-Victorian spaces as heterotopias, relational places simultaneously belonging to and excluded from the dominant social order. These spaces’ impacts on individual identity illustrate this uneasy relationship. Both the sideshow and the laboratory constitute sites of resignification, emerging as “crisis heterotopias” or sites of passage: in Parry’s novel, the sideshow allows the Church twins to embrace their unique identities, surpassing the limitations of their physical resemblance; in Dracula, laboratory experiments reverse Dracula’s undead condition. Effecting reinvention, these spaces reconfigure the characters’ senses of belonging, propelling them to places beyond their confines, and thus projecting the latter’s heterotopic qualities onto the city. Potentially harmful, yet opening up urban space to include identities which are considered aberrant, these relocations envision the city as a “heterotopia of compensation”: an alternative, possibly idealized, space that reifies the sideshow’s and the laboratory’s attempts to achieve greater extroversion and visibility for their liminal occupants, thus fostering neo-Victorianism’s outreach efforts to support the disempowered. Full article

Video games have become important but understudied narrative media, which link into as well as perpetuate popular forms of cultural memory. They evoke and mediate space (or the illusion thereof) in unique ways, literally putting into play Doreen Massey’s theory of space as being produced through a multiplicity of trajectories. I examine how Assassins Creed: Syndicate and The Order 1886 (both 2015) configure a neo-Victorian London as a simulated, spatio-temporal imaginary in which urban texture becomes a readable storytelling device in and of itself, and interrogate how their neo-Victorian heterotopias are mediated through a spatial experience. Both games conjure up imaginaries of steampunk London as a counter-site sourced from and commenting on the Victorian city of memory. Through retro-speculation, they re-calibrate neo-Victorian London as a playground offering alternative forms of agency and adventure or as cyberpunk-infused hyper-city. In so doing, they invite the player to re-evaluate, through their spatial experience in such a heterotopic steampunk London, shared imaginaries of ‘the city’ and ‘the Victorian’. Full article