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We find Qifrey Bound in herbsAs we return to Witch Hat Atelier he is ensconced within the tools of his craft on the title page. He is at peace, and why wouldn’t he be? Although we see practice as a chore or an imposition, it is necessary to achieve mastery. Mastery is the source of confidence, self knowledge, and self determination. In a world where we are often disconnected from our achievements, and where the interconnectedness of modern society has robbed us of tangible accomplishments. The mastery of a skill is a way to reconnect with the world in a direct, honest manner. What’s more, it is like the cradle in which Qifrey is suspended – it provides us shelter and security made of our own hands, the skills that no changes in external fortune can steal from us. When we have nothing else, we still have all that we’ve learned – through practice and mastery, we make a hearth of our hearts, a smith of our hands, a library of our minds, and an atelier of our bodies, our burnished instruments working in marvelous unison.
Qifrey’s confidence is clear as he counters his opponent’s approach with a ritual of his own. A steady lengthening of panels across the top half of the page emphasizes his mastery; as he speaks to his students the magic spreads unbidden, the extension of the panels echoing the spell’s intrusion into the mundane world. Qifrey himself is unbound, floating beyond the panels much like his ethereal power sets him beyond his students – he is a conductor of the visual frame, his confidence reified by the sharp jolt of the traditional square panel at the bottom. It is a period in the composition that commands the reader to look at Qifrey directly, to look into his eyes, and not to goggle. Through these tools, Kamome Shirahama conducts the reader’s focus with as much skill as Qifrey commands his magical instruments.
Shirahama’s skill is equally apparent in Qifrey’s subsequent feint, the paneling emphasizing the momentum of his actions. In this case, Qifrey’s robe is being dipped in water and then made stiff as ice before he throws it at his opponents. The tilt of the panels echoes that motion. The initial panel’s rightward tilt echoes the cresting and folding of the cloth as it rises. Then, before it can collapse, it is made rigid and drawn towards him, an effect echoed by the middle panel drawing upwards towards Qifrey’s yanking hand above. Finally, the motion is completed with the cape billowing out in the wake of Qifrey’s pull, a transformation echoed by the third panel’s larger width and continuing tilt. The end result is a complicated motion executed with both clarity and visual momentum, allowing the audience to feel the weightless rise of the cape, the moment it is caught by Qifrey’s tug, and the way it expands like a sail behind him.
And Shirahama’s talents are not limited simply to a grace of paneling. Tetia’s negotiations with these gold-encrusted victims of mages past speaks to the truth of the last volume’s central focus, the necessity of practicing even things you don’t find immediately interesting, of exploring beyond your preferred focus within a discipline. As is so often the case, the proof of Shirahama’s lessons is expressed through the triumph of her own craft: in this case, how the designs of these forsaken soulsTheir recollections are influenced by woodworking and traditional sculpting. Shirahama may have been able convey these moments purely using aesthetic forms derived from manga, but Witch Hat Atelier is less precise and evocative of live sculpture. The more widely you study and draw influences, the tools and traditions that you embrace when constructing your atelier will make your work more vivid and meaningful.
This applies equally to visual and narrative art. These golden prisoners use a lyrical style of speech and a traditional riddle. While it is not wrong to stick to your own style and genre, you will be robbed of the new insights and unique tools that come from drawing on a broader range of influences. And what’s more, beyond this pursuit’s efficacy as an enricher of your aesthetic potential, it’s also simply Fun and games for everyoneExplore new worlds to see what else human ingenuity can create. Through this process, you will find out. New Zealanders are able to purchase new cars.We can enrich ourselves, our pen and ourselves by discovering what we love.
When asked to identify the most crucial thing that these trapped souls have been denied, Coco answers with “peace.” It’s an answer that seems to imply wisdom beyond her years – an understanding that just as the process of mastery is a continuous, restless wheel, so must our larger journeys rise through pandemonium and resolve in oblivion, allowing the next generation to continue the work of sculpting our world. Coco’s warming symbol is able to end the suffering of these trapped souls, but she is still too young to understand that this is a tragic outcome. Because these apprentices know so much about magic and their own selves, they are unable to comprehend the weight of age and the certainty of an unchanging future. The process of attaining such knowledge is similarly the work of a lifetime – and to a child, the idea of cherishing a final goodbye is unthinkable.
The stubbornness of childhood has its benefits. As a flashback to four years ago reveals, Riche’s proud confidence in her own perspective was her only defense against her first, tyrannical teacher, a man who delighted in cowing his students into precisely mimicking his methods. To her brother Ririfin, Riche’s quiet rebellion, her insistence on sneaking her own glyphs into the margins of her work, was a vital source of comfort. Giving students the space to express themselves and nurture their passions is just as important as teaching them the correct forms and formulas – and when students are denied that space, only the most passionate or confident among them will survive. It is a crime for a teacher to take away a student’s passion for learning. But many teachers still see their students as extensions of their brilliance rather than bright lights who are guided and encouraged but ultimately must find their own way forward.
All we can do is hope that unhappy children will eventually find the guidance they need, whether through a different teacher or by being encouraged by their peers. In the end, Riche’s examination of Eunie’s keystone provides a fresh solace, as she realizes how Eunie adjusted the standard arrangement to account for his own shaking hands. Our passion for creation and personal growth can be stamped out by thoughtless instructors, but like Riche’s notes in the margins and Eunie’s distinctive glyphs, all we need is the smallest amount of wiggle room to retain and nurture our own identities. Riche did not make a mistake when she rebelled against her teacher. Although his mistreatment hampered her ability to learn new ideas and methods of magic, she was correct to take her own style to Qifrey. Riche has discovered that the things that define how we see the world don’t disappear as soon as we learn a new technique. “Within the book, hidden between the lines, your personal touch will never leave.” We need not carefully guard our own identity within our work; though our approaches will naturally shift as we accumulate new tools, no matter how much our style changes, our identity will remain ensconced within it.
Riche tries to maintain her artisanal fashion, while others express the feckless youth with a less prickly attitude. As Coco and Agate lament Eunie’s transformation, Tetia banishes their somber thoughts with her declaration that three heads are better than one, and that with their minds combined they’ll surely find a way to save their friends. Her confidence is more than just a comforting word to her friends. It is a real power for a young mage. While we must move forward with humility regarding all the things we don’t know, we must simultaneously possess confidence that we The following is a list of the most popular ways to contact usWe will only succeed if we know and understand them. Your skills will stagnate if you lack self-confidence. You won’t be able to grow past your own self-defeating perceptions of your abilities.
And sometimes, confidence is the only thing that can get you through. Rather than immediately seeking a perfect solution, Tetia suggests that “let’s come up with a plan. We’ll decide if it’s any good or not afterwards.” You must not allow yourself to fall into stasis, paralyzed by your inability to immediately grasp perfection. Iteration is the essence of study, and study is the road to improvement – try boldly, fail with a smile on your face, and try again. After all, it’s always easier to critique than it is to create – so create quickly and without regret, that you might then ramble onwards to the easy part.
Spurred onwards by Tetia’s confidence, the trio break their “impossible” task down into a series of discreet, manageable tasks, demonstrating again how the “magic” of creation can always be made coherent through study and compartmentalization. Even though this is the essence and goal of mastery, the results are as true as anyone could hope for. Even your fears and regrets ultimately inform your aesthetic or artisanal identity – just as Riche learned to master small spells in order to avoid her teacher’s censure, so has Coco spent long hours considering how magic might be undone, in order for her to save his mother.
With their master’s tutelage and youthful confidence to sustain them, not even the Brimhats can thwart Qifrey’s pupils. Embodying both the confidence her teachers have nurtured and the brilliant arrogance of adolescence, Coco pushes back against the Brimhats’ offers of salvation, saying “no matter what you want from me, what I draw will be something I decide myself. And I myself will learn how amazing and terrifying magic can be!” For Eunie, Riche, and all other students suffering under the yoke of oppressive instructors, Coco’s words ring as a defiant rallying cry, a declaration that her passion is greater than her ignorance, that students must be free to find their own stumbling way forward. Apprenticeship is a partnership. There is nothing more valuable than a great teacher. But there is also much to be said for the audacious self-confidence of youth.
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