What time is it? It’s time to think unreasonably deeply about Little Witch Academia’s worldbuilding and how it contributes to an ingrained trend of making heroic magical stories all about capitalism vs class structures!
So. Little Witch Academia follows the shenanigans of Akko Kagari at Luna Nova magical academy where she, inspired by an idol-style illusionist she’s been a fan of since childhood, is learning to become a witch. Naturally every Harry Potter story of hallowed halls, pointy hats and potion classes needs a Draco Malfoy, and this comes in the form of top student Diana Cavendish, who makes an intriguing remark in the second movie about how she is from a historic magic family and Akko is a nobody from some faraway place, and she’s making everybody look bad with her impudent ineptitude.
What we glean from this is that there’s a hierarchy, if not a straight up class system, in the world of witches—whether or not magical talent is actually passed down through the bloodline (a la Fate, which I’ll get to in a bit), there’s definitely an accepted social thing that families where multiple generations (the further back they go the better) have been practicing magic hold themselves in higher regard to first generation witches. But, as Akko shows by getting into the school in the first place, magical talent doesn’t seem to be something you are or are not born with in this universe. Supposedly if she, an ordinary girl from nowhere, can learn it, so can any pleb from the town… except that the townspeople hold a historic dislike for witches, to the point where they happily re-enact witch hunts as part of a parade every year. Perhaps, kicked down the social hierarchy by regular society, magic society formed their own social hierarchy to alienate those who represented the regular humans who spurned them? Continue reading