As someone who has an interest in sf/fantasy depictions of WWI, I’ve been puzzling for years as to why authors dabbling in steampunk have been reluctant to tackle the conflict. My own theory is that steampunk is, at heart, an American creation, and the Great War is an event that has mostly vanished from the American consciousness. For most American writers, steampunk is a fantasy world set in an imagined version of 19th-century Britain or America which draws more from other stories than from reality, and the question of international politics and war doesn’t really come into it. That said, I have found British authors working in steampunk to be far more willing to broach the subject of World War I, both because the war had such a huge impact on the British national psyche, and because it ties into the greater question of what Britain is, its relationship to the empire, what role Britain has in the world after empire, and so on. As for examples, two authors stand out to me. While a hard sf writer by trade, Stephen Baxter’s steampunk excursions always seem to be haunted by the war. His 1993 novel Anti-Ice is for the most part a romp about a 19th-century excursion from the Earth to the Moon thanks to the titular substance, an exotic form of antimatter. However, by the end of the book the use and exploitation of anti-ice has led to Britain, France, and Germany locking themselves into a Cold War-style nuclear arms race. His 1995 book The Time Ships is a sequel to the The Time Machine that riffs in all manner of ways on HG Wells’ work, but the middle third of the book is set in an alternate 1938 where the First World War has dragged on for decades, transforming Britain into a dystopian state influences by Wells’ most pessimistic views. (While I haven’t read Baxter’s 2017 followup to The War of the Worlds, entitled The Massacre of Mankind, some of the elements I’ve seen, like a police-state Britain and a bloody Russo-German war in Eastern Europe, suggests that the Martian invasion of the original book has become the Great War of the sequel’s world.) For something a little more literary, Ian R. MacLeod’s Aether duology, The Light Ages (2003) and The House of Storms (2005), is set in an England where a magical substance called “aether” has locked the country (and by extension the rest of the world) in a sort of static industrial revolution for centuries in some ways reminiscent of Keith Roberts’ Pavane (1968). Change does eventually come to this static eternal England, sadly in the form of a civil war whose depiction draws heavily from that of the Western Front.
I didn’t include it in the list of favorite stories because I like it more in idea than in execution, but Caitlin R, Kiernan’s story Goggles really hit me hard. She says it was her idea of where all steampunk is leading, but most authors don’t want to admit: the conflict that became World War I in our world destroys the steampunk world in technologically advanced nuclear fire. I read it yesterday and I can’t get the concept out of my head.