Without much fanfare, Witch Hat Atelier stands as a premier fantasy manga, blending an inventive magical system, vivid characters, and a richly allegorical world, all underscored by exquisitely detailed artwork that made the anime’s production team nervous about its screen adaptation.
At this year’s Anime Expo, during the initial run of the Los Angeles pop‑up Kodansha House, we got to chat with the series’ creator, Kamome Shirahama, about Witch Hat Atelier. We talked about its core elements—characters, magic—and got a look at how she built such an engaging story. We also found out how close she feels the manga is to wrapping up.
Portions of this interview have been lightly edited for clarity. This interview was conducted with the assistance of an interpreter.
Q: First, I’d like to hear your thoughts on the completed first season of the anime.
Shirahama-sensei: I was thrilled, of course, but also quite relieved. Working on the anime was a lot of fun, yet it felt like a big celebration, and I was on edge the whole time. Now that it’s over, we can catch our breath and start gearing up for what’s next.
Q: Your series includes a great deal of representation for disabled folks, the LGBTQIA+ community, and various racial groups. I’m sure many readers, including me, are grateful to see this; how important is this representation to you personally?
Shirahama-sensei: For me, lacking such representation would feel completely unnatural. It just feels right that the diverse people we encounter in everyday life appear in the story. Hearing that so many readers appreciate seeing themselves reflected makes me happy, but I also hope it becomes the norm—something nobody has to feel special gratitude for.
Q: You designed a detailed magic system that has inspired fans to devise their own spells online. How did you approach creating this system, and how does it feel to see fans invent new spells within your fictional universe?
Shirahama-sensei: From the very beginning, I built the magic system with the idea that others could craft their own original spells. While developing the story, I constantly considered the puzzle pieces—who, when, what, where, why, and how—that fit together, because the magic system is the core: its uses, the perspective it offers, and the pseudo‑physics it lends the world.
Editor’s Note: In a follow‑up clarification, Shirahama-sensei explained that she treated story elements—what, where, how—as puzzle pieces and used symbols instead of full explanations. That formed the magic system. She continues to shape it by considering its uses, the perspective it offers, and the physics it lends the world.
Q: Witch Hat Atelier is renowned for its extremely detailed artwork. How much time do you spend on especially elaborate two‑page spreads or highly detailed pages?
Shirahama-sensei: A typical chapter runs about 30 pages and takes me roughly one to ten days to finish. Even the most intricate pages only need maybe half a day—never more than a full day.
Q: Your story suggests that no single belief system is perfect, highlighted by the contrast between the Pointed and Brimmed caps. When did you decide to focus on these opposing ideas?
Shirahama-sensei: Across many of my works, I’ve always liked to compare and contrast opposing forces; it’s something that grew naturally from the stories I loved as a child. I think that theme is deeply embedded in me, so whenever I write, I tend to move toward exploring those contradictions.
Q: We’re seeing deeper backstories for characters such as Qifrey and the Knights Moralis as the series goes on. Did you plan these origins ahead of time, or did they develop gradually?
Shirahama-sensei: It’s roughly half and half: some characters had their backstories clear from the start, while others took shape as the narrative unfolded—sometimes I’d realize, “Ah, this must stem from that past.” For the core members of Qifrey’s atelier—Qifrey, Olruggio, Coco, and Agott—I had their backdrops set from the beginning.
Q: Is there any character you’d have liked to delve deeper into?
Shirahama-sensei: I’m constrained by page limits for everyone, but if I could, I’d love to explore Dagda and Custas in more detail.
Q: Some characters, like Richeh, frequently use puns and portmanteaus—examples include ‘angricheh.’ How often do you brainstorm these wordplays?
Shirahama-sensei: I don’t usually cook up those ideas while drawing; they pop into my head in fleeting moments, often during everyday life. I keep a mental stash of them, thinking, “I’ll use this next.”
Q: What stage of the overall narrative are you at with the manga, and how far ahead do you typically lock in major plot points?
Shirahama-sensei: We’ve completed the world‑building introduction and setup. I’d estimate we’re roughly a third of the way through the story—hard to pin down exactly. The Silver Eve arc marks a significant turning point for us. While I have the overall storyline plotted out, I leave the finer details to evolve as I write; it’s not pre‑determined down to the small moments, but I do keep an eye on where we’re heading.
Q: A special chapter implies the story is narrated from Brushbuddy’s recollections. Do you identify with Brushbuddy in that sense?
Shirahama-sensei: Yes—perhaps I am Brushbuddy.
Q: Is that a lifelong identification, or did it develop more recently?
Shirahama-sensei: It’s more of a wish; I’d love to be Brushbuddy.
Our thanks go to Kamome Shirahama for her time and to Kodansha for helping coordinate this interview. The Los Angeles Kodansha House stayed open through the 12th, offering watch parties and events for visitors. You can check out Witch Hat Atelier on K Manga, and a second anime season was announced last June, with a teaser trailer recently released.
We recently sat down with the anime’s producer, Hirotsugu Ogo, director Ayumu Watanabe, and Coco’s Japanese voice actress, Rena Motomura. Watanabe noted that upcoming seasons will grow darker, which is why the first season emphasized its brighter moments.
©Kamome Shirahama / Kodansha
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