The colors are enhanced by the details and patterns throughout the novel, from individual blades of grass and leaves on trees, to the designs on woven baskets, pottery, and clothes that fill the markets in the villages Sanja and Lelek visit. Cool blues and greens are reserved for dreams and memories and the arrival of winter. Lemon yellow, coral and teal give way to the warm golden glow of a campfire at night, black borders framing the pages. As Lelek and Sanja make their way from town to town, colors change. The palette of Witchlight, while pale and mutes, is expansive and help tell the story. Quintra District, situated at the western end of Wall Maria, is holding out despite being hemmed in by the Titans on both the exterior and the formerly interior sides. Shinganshina has been breached, and humanity has retreated to Wall Rose-for the most part.

Hoping to make a living by challenging other witches to battle, Lelek meets her match in Dhana, who wins the match by burying Lelek in the earth, only her head sticking out. About Attack on Titan: The Harsh Mistress of the City, Part 2. Even the magic practiced by Lelek flows through nature. The world of Witchlight is lush and bountiful, accepting. Panels are dedicated to scenes of walking through meadows, peering through tall reeds, rain falling on leaves and hands picking fruit and flowers. As their bond forms, Sanja and Lelek travel on foot from town to town. Nature is everything in this world, from the open air market where we first meet Sanja, selling tubers at her family's stall, to the woods where Lelek takes (kidnaps.) Sanja to hideout. There is much to love about Witchlight, but it is the immersive landscape that Zabarsky created that stands out and stays with you. With Witchlight, Zabarsky creates a compelling world where matriarchal communities thrive and nature is an integral part of life for humans and witches, with prejudice and ignorance hovering at the edges.

Witchlight jessi zabarsky