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Ne soyez point en peine de ce Heros inconnu qui se presente à vos yeux. Encore qu’il ne soit pas ny de ce Monde ny de ce Siecle, il n’est pas si farouche ny si barbare, qu’il ne soit capable de faire un beau choix, &#38; qu’il n’ait jugé aussi juste de vostre merite, que l’auroient pû faire tous ceux qui ont l’honneur de vous mieux connoistre.JACQUES&#160;GUTTIN&#160;[MICHEL DE&#160;PURE],&#160;Épigone, histoire du siècle futur&#160;(A Paris: Chez Pierre Lamy, 1659), aij-p.nn.My latest work on the conceptualisation of historical time in late modern and early contemporary European culture is now on Cromohs: Cyber Review of Modern Historiography.Late modern and early contemporary imageries related to techno-driven globalization processes are to be found, in some of their most popular and graphic expressions, in visual and literary works of fiction. Made possible by the emergence of new ideas of a secularized historical time, early speculative fiction is an exceptional vantage point from which to observe the birth and development of popular themes and tropes related to those compressions of time and space, which increasingly characterized the world system between the late nineteenth and the early twentieth century.Louis-Sébastien Mercier,&#160;L’an deux mille quatre cent quarante (1774; nouvelle edition, Paris, an X [1801-1802]) vol. I, 12. Looking at the public notices posted on a wall, the protagonist realizes he has slept for 672 years. Source: gallica.bnf.fr / Bibliothèque nationale de France.In the European cultural space, and especially in mature publishing markets such as the French one, speculative fiction set in the future became an apt expression of new imageries related to techno-science, including new communication and&#160;transportation systems and the astonishing speed of their development. Narratives and illustrations interpreted the appearance of new forms of awareness of globalization processes, becoming part of a communicative circuit, which was expanding its audience at a fast rate, thanks to the increasing presence of the popular press.In this phase of techno-scientific acceleration and tumultuous changes in cultural habits, speculative fiction began to depict a major shift that had been occurring in the European mind-set during the late modern era: the emergence of a plastic future. New ideas of the future were a consequence of new, secularized temporalizations of history. The conception of historical time as home to linear processes of development was in turn deeply influenced by&#160;a close encounter with “others,”&#160;by explorations, voyages and the availability of written, figurative and material sources regarding remote parts of the world, which documented Western forms of ethnocentric hierarchization and, at the same time, began the task of problematizing them.Fantastic narratives and illustrations can be read as part of a broader social history of ideas of space and time, and work as litmus tests of the complex reconfigurations they underwent in the Western mind, as global interconnectedness brought new subjects and issues onto the stage.The subgenre of imagined future wars developed in relation with the use of alternate history as a means for political propaganda, which could be found from the late seventeenth century onwards in non-fiction tracts and pamphlets, as in some of the examples discussed below. Near the end of the nineteenth century, this literary and visual narrative strand assumed clear-cut characteristics, and articulated concerns regarding instabilities and tensions in international relations, and fears related to the destructive use of those technological innovations that were following one another so rapidly and that were taking centre stage at the great international exhibitions and world fairs.Cromohs features "theoretically informed work from a range of historical, cultural and social domains that interrogate cross-cultural and connected histories, intersecting the history of knowledge, emotions, religious beliefs, ethnography, cartography, the environment, material culture and the arts". Editors-in-Chief: Daniel Barbu, Caterina Bori, Giovanni Tarantino, Paola von Wyss-Giacosa.Full text in open access hereIannuzzi, G. (2020). The Illustrator and the Global Wars to Come: Albert Robida, La guerre infernale, and the Long History of Imagined Warfare.&#160;Cromohs - Cyber Review of Modern Historiography,&#160;22, 95-136. https://doi.org/10.13128/cromohs-11706[cite]