No, “strangely” is wrong. Nothing about Witch Hat Atelier feels especially unusual, trope-wise. It feels… expected. And I love it. It smoothly delivers a genre experience that I love, and I want more.
I’ve only read the first book so far. I raced through it this morning, and I’ve already requested the next three. I’m amazed at how well the story manages to move comfortably inside its genre’s expectations while still catching my attention and winning me over.
It’s a healthy reminder of how much delight can be drawn from indulging in competent genre fiction. There are certain themes that I often enjoy (restricted access to magic, young magic users stepping up to face adversity, gradual revelation of infighting and intrigue within the magic world, gradual revelation of deeper complications about *why* magic is restricted), and when given books full of those I frequently fall into the story nose first. The first book of Witch Hat Atelier hits all those notes without knocking me out of the groove at any point. While this means that I haven’t been surprised yet, it moves quickly enough that I’m delighted to just be along for the ride. There’s just something marvelous about watching plucky young magic users improvise their way through magic to get the job done, especially when everyone assumes that they’ll fail.
I haven’t read enough of the series yet to say how it will shape up long term. I haven’t even read enough to say that any of the characters feel like they’ve grown beyond their familiar introductory archetypes. It doesn’t matter. Kamome Shirahama has done well here so far, and I’m looking forward to more.
Zombies are one of the common narratives to arise in the modern era. People say this is for a lot of reasons. I can talk on and on about how zombies represent the mindlessness of the modern era, from driving to work to a day-to-day cubicle life to consumerism to the seeming emptiness of modern day choices, whether it be brands of soda or the similarity of politicians. But ultimately, this is unimportant: zombies have captured hearts and minds in the modern era.
We can trace the start of the zombie movie epidemic to three major sources. First, the idea of mindless human beings can be traced to Haitian Vodou. Second, George Romero’s Night of the Living Dead can really be called the ancestor to zombie apocalypses. Finally, at some point, the idea of zombies as an infection of some sort has arisen over time, and while I cannot think of a specific source which serves as its origin, the Resident Evil movies will serve as a good exemplar.
So why am I talking about zombies? Because the first setting I’ll be writing about is a zombie setting. And as I said, a good setting plays to tropes, but denies them in some way. A setting that is nothing but tropes will seem campy. On the other hand, a setting that fully defies tropes isn’t really a continuation of the theme, but a new thing entirely. After all, George Romero never even referred to the shambling cannibals in his movie as ‘zombies’, that terminology came later. He wasn’t bringing new light to Vodun Zombies, he was starting a new genre that happened to end up connected to an old genre.
So first, I’ll have to outline what the tropes of zombie apocalypses are, and then which ones I’ll be breaking, and why. Finally, I’ll discuss the effects this has on the universe.