H. G. Wells’s ‘Short History of the World’

A Short History of the World by H. G. Wells, with updates by G. P. Wells and Raymond Postgate. Penguin Books, 1965 [Original version 1922]. 363 pages.

(A quick search indicates that the version I discuss here is no longer in print. The link above is to a reprint of the original version of this book.)

Nowadays, we mostly remember H. G. Wells as a pioneer of science fiction, but in his own day, he was better known for his nonfiction. Although he had no remarkable academic credentials, he was a prolific writer and a bold thinker, and he set England abuzz with often outrageous ideas, which changed constantly. A few years ago, I happened upon a volume of his Short History of the World, which is his second attempt at summarizing world history, the first and longer being the Outline of History. I finally sat down to read it recently and might as well offer my thoughts.

Wells opens the book by assuring us that this will be a dispassionate review of the history of the world with no personal editorializing, but anyone with a passing knowledge of Wells probably knows that refraining from editorializing was something of which he was incapable, so this is very much a vision of world history through the eyes of its particular author. But Wells is a difficult man to pin down because his ideas changed from year to year: Right at the turn of the century, he advocated the genocide of all non-white races, but a handful of years later, he was reading Booker T. Washington and expressing sympathy for the plight of the American negro. He liked eugenics one minute and later rejected it. He was a member of the Fabian Society but got kicked out when he argued in favor of polygamy. G. K. Chesterton gives Wells some backhanded compliments in his book Heretics, describing him as always growing—but it’s unclear if he was really growing or simply throwing ideas against a wall to see what would stick.

If Wells had any consistent principles, they were his atheism and his belief in the goodness and inevitability of a future worldwide government. The latter appears to have been his guiding light throughout his intellectual life and the reason why he was mostly a socialist and at times (maybe) a fascist. We may take this as his religious belief, something he clung to despite all obstacles and evidence to the contrary. It is remarkable that he could study history as he did and still believe in some far-off utopia: His portrayal of the past is a catalog of folly and duplicity, yet he continued to believe that this foolish animal called man would in the future produce global unity. Therefore, despite his atheism and malleability, we may say that he was a man of deep faith.

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Crunchyroll on the History of Magical Girls

Yet another video on the history of the magical girl genre, this time from the YouTube channel of Crunchyroll, the streaming service.

Any of these are necessarily selective, though I find this one slightly more irritating than usual. When it comes to discussing Sailor Moon, it focuses on gayness while ignoring more sigificant accomplishments and also claims Sailor Moon basically introduced homosexuality to anime—a statement as ignorant as all the claims from a few years back that Black Panther was the first movie with black people in it. Crunchyroll also treats of Puella Magi Madoka Magica as the first self-aware or self-critical magical girl series, a claim so common yet erroenous that it’s produced a cottage industry of blowback.

The genre has always been self-aware and included some amount of self-mockery, so much so that self-awareness may be one of its central characteristics, but it has also seen deliberate deconstructions before Madoka. What Madoka accomplished that its predecessors didn’t is a complete reorienting of the genre toward uglier content and more nihilistic themes. Madoka, like Sailor Moon before it, turned the whole genre into its imitators.

Aside from that, well, whatever; a lot of commenters over on YouTube have complained that this video fails to mention some particular series or other, but since this is a half-hour, condensed discussion, a lot is necessarily going to get excluded.

In any case, collecting historical overviews of the genre is part of my schtick here, so I repost them as I find them.

It may or may not be coincidental that Crunchyroll has recently acquired the rights to Healin’ Good Pretty Cure, which I believe is the first Pretty Cure series—except the original—to get licensed in English (not counting the brutally localized Glitter Force adaptations on Netflix). To a magical girl fan, that’s significant, and I hope it means more Pretty Cure series will appear on the service in the future. Since I refuse to use pirate sites, I still haven’t been able to watch most of this magical girl mega-franchise.

At the time of writing, however, only episodes 13 to 17 of Healin’ Good are available, but a notice indicates that episodes 1 to 12 will appear later. This perhaps represents some problems with the licensing.

A Visual Montage of Magical Girl Evolution

This video by VirgoX Flow is an unusual depiction of the history of the magical girl genre. Foregoing commentary or discussion, it simply shows excerpts of major titles from 1966 to the present day, so the viewer can easily see how the style in art, the themes, and the appearance have evolved over time.

This video also shows me just how many series I still need to see. Yeesh, so many magical girls and so little time …

History of Magical Girl Transformation Sequences

This video from Get in the Robot, although alleging to focus on the rationale for transformation sequences in magical girl anime, is actually a history of the genre with some critical interpretation thrown in. And it’s one of the better ones I’ve seen, so you should watch it. It mentions a lot of the major milestones in the genre, but smartly avoids getting sidetracked by rabbit trails or minor titles while at the same time pointing out some influences that others often miss.

My only small quibble with this video would be in its claim that the genre has shifted away from an early focus on coming-of-age stories. I think that’s something that’s been muted by the infusion of superhero tropes, but by no means eliminated.

Evolution of the Magical Girl Anime

Featured image: “Magical Girl of Valentine’s Day” by ElynGontier

I’m busy with school, and I’m also digesting the annotations from my editor. But in the meanwhile, I refer you to The Hyped Geek, which offers yet another article overviewing the evolution of magical girl anime from Sally the Witch to the present day.

Being one of those who grew up on anime, one of my biggest and most secret fantasies was to become a magical girl. That’s right; minute long transformations with colourful lights, a cool signature outfit, speeches of love and justice and a cute animal sidekick as a guide.

While that’s how many of us would think of it, it’s a pretty generic view of what constitutes as a magical girl anime. There’s a lot more to the genre than cute young girls with powers, saving their loved ones, or even in most cases, the world, as different anime bring different and new elements that have made the magical girl genre so renowned today. So get your transformation items ready as we go through the most influential magical girl anime from its inception until today. [More …]

One of the reasons I got into this genre in the first place is that it’s narrow enough in its concerns that it plays out over time like an ongoing conversation. One cartoon or comic will come out, and another will build on it or respond to it. So, for example, Revolutionary Girl Utena is an answer to Sailor Moon, and then Princess Tutu is an answer to Revolutionary Girl Utena. More recently, Puella Magi Madoka Magica was a major game-changer, and then Yuki Yuna Is a Hero responded to it. I think this is why magical girl fans so preoccupied with tracing history, because this genre is an ongoing dialogue.