Monstress • Marjorie Liu & Sana Takeda

For some time now, I’ve been picking up comics, graphic novels, and manga from time to time, and over the past few months, I’ve tried out several series. There aren’t many that have truly stayed with me, but the series Monstress is one of the few comics that I would consider a masterpiece. Three volumes have been released so far, and I’ll be ordering every new one without hesitation. The story of Maika Halfwolf, combined with the beautiful and stylish artwork, is simply wonderful. So, if you think comics are just for kids, teenagers, or nerds, I can assure you that Monstress might just win over even the skeptics.

At the center of the story is Maika Halfwolf, a young woman within whom a monster of immense power awakens and threatens to take control of her. Maika is not human but an Arcanic — a magical being who appears human in form. The story takes place in a fantasy world populated by many different kinds of creatures. On one side, there’s the Federation, made up of humans and the witch-nuns of the Cumaea. On the other side stand the Arcanics — magical beings that come in many shapes and forms, most of them animal-like. Both factions are locked in conflict, with the Cumaea acting as antagonists who kill and mutilate the Arcanics to harvest Lilium, a substance that grants magical power. Yet there are also many other factions and political interests, and amidst this web of power struggles and intrigue stands Maika Halfwolf, caught up in her own transformation and her search for identity.

That might sound like a coming-of-age story, but it’s not the usual journey of self-discovery. Maika can be ruthless at times and is far from a sympathetic protagonist — it’s hard for the reader to truly empathize with her. The characters, and especially Maika, feel authentic, and her personality is excellently developed. Naturally, a driving and entertaining element of the story is the dormant power inside Maika, which surfaces again and again — often predictably — and decisively shapes the course of the plot. As a reader, you gradually uncover the mysteries surrounding Maika, the power within her, and the world itself. Maika struck me as both fascinating and repelling at the same time — which I think is entirely intentional.

The setting is incredibly well-crafted and rich in atmosphere. Each location has its own distinct character — a lovely harbor town, a medieval-steampunk city, or a hidden seaside refuge. The artist draws from many stylistic traditions to create a world that feels complete, real, and alive — full of history, texture, and diversity through its many human and Arcanic inhabitants. It’s a fully realized world, and you can tell right away. Especially in the third volume, Sana Takeda surpasses herself, offering an array of lush, evocative environments that are both magnificent and full of mood.

The story moves at just the right pace, though it features frequent scene changes and a large cast of characters. Keeping track of everything was a bit demanding on my first read. There are many groups interconnected in subtle ways, and much is only hinted at. I missed several connections at first, but during my second read, everything clicked. It’s fascinating how much can be conveyed through imagery and a few speech bubbles — that’s true artistry: expressing emotions, thoughts, and subtle social dynamics in such a compact form. One scene that stood out to me shows the Prime Minister of the Federation speaking with an admiral, where their differing stances on the Cumaea become clear with very few words. Particularly in the third volume, the story picks up speed — I found the action and tension in the second half especially compelling.

I really enjoy the art style — it reminds me a bit of concept art from video game artbooks, though more detailed and refined. I’d guess that the drawings were made digitally based on the way the coloring looks. The color palettes are beautifully harmonious, especially when blues or yellows are used in layered tones or when multiple light sources interact. I particularly love how these hues combine with intricate, ornate designs found in the architecture and clothing. You can get a great first impression of the book and its style by watching the Monstress Vol. 1 comic trailer on YouTube.

The artwork feels cinematic — many of the scene transitions could come straight out of a film storyboard. It’s interesting how Sana Takeda describes her drawing process, which clearly shows the influence of film and television on her visual storytelling:

“When I think about the compositions while reading the script, I imagine the spatial arrangement in my head and move the characters within it. Then I consider where to place the camera and which angle is best to capture the image naturally. That’s how I construct my illustrations.” (Interview at the end of Volume 1)

The chapter illustrations featuring the main characters striking graceful poses are also beautifully done. Considering that each book costs about €15 but includes nearly 200 full-color, high-quality pages, the price-performance ratio is excellent. Compared to other comics — many of which cost the same but offer only a quarter of the content and far less impressive artwork — Monstress easily stands out. Even most manga, which often cost around €10, don’t come close to this level of visual refinement. But rather than just telling you about the artwork, take a look at the photos in this post or the preview pages. The print quality is superb, and the paper has a nice thickness to it.

The blurb promotes the series as “Art Nouveau steampunk meets manga,” which I find particularly interesting. Manga are typically known for their black-and-white, exaggerated visual style, and for the flowing reading rhythm — the “flow” — readers experience. While Monstress’s artwork far outshines that of most manga, I did find the reading flow quite pleasant, though I’d say it’s more typical of Western comics than the smooth, intuitive rhythm of manga. On my first read, it took me some time to piece everything together — especially after sudden scene changes. When, for example, the Court of Dusk appears for the first time, I was completely lost at first.

I also really enjoyed the action sequences, which are classic comic-book fare — and that’s a good thing. They give the story energy and spice. Maika is anything but gentle, and as a reader, you can’t help but anticipate when she — or the monster within her — will unleash again. Sometimes, she even outshines the monster itself. The witch-nuns of the Cumaea, with their menacing aura, are also wonderfully portrayed. The story builds real tension again and again. That said, Monstress can be quite brutal — the Cumaea mutilate Arcanics, and in fights, blood and limbs fly frequently. Reading those scenes on the subway made me a little self-conscious — especially in the mornings with kids around — though, realistically, most of them have probably caused far worse virtual carnage on their PlayStations.

I also appreciated the explanatory inserts that describe the world and its peoples in more detail. These appear mainly on individual pages at the end of chapters. In them, a professor cat explains the world’s lore to his feline students (cats are their own race in this universe). Sometimes, instead of the professor, propaganda materials from the ruling factions are shown. I think that’s a brilliant touch. I already found propaganda material a great storytelling device in BioShock Infinite, and it works just as effectively here.

Sana Takeda, the illustrator of the comic, was born in Japan in 1977 and works for the U.S. comic industry. Contrary to what one might assume, her background isn’t in manga. You can find more of her work on her website. At the end of the first volume, there’s an interview with her. I find it fascinating that she collaborates with Marjorie Liu, the writer, despite the language barrier — they communicate through a translator. The fact that such a perfectly executed comic emerges from that collaboration is remarkable. Another interesting interview with Sana, conducted at Comic Con Dortmund 2016, can be found on YouTube.

Marjorie Liu is a lawyer and author who has written more than seventeen novels and has been quite active in the comic scene, having worked for Marvel as well. I hadn’t read anything by either Sana Takeda or Marjorie Liu before this, but I also wouldn’t call myself an expert on classic Marvel comics.

Conclusion: Monstress is one of the best — if not the best — comics I’ve ever read. The artwork is magnificent, the story is gripping, and it’s told cinematically with plenty of action. At the same time, it’s rich with subtle character dynamics and political tension, giving it great depth. The portrayal of the protagonist is consistently strong. Maika Halfwolf is a fierce woman worthy of the series’ title, yet she feels authentic, with her fears, emotions, and flaws. Her search for her roots takes her through a beautifully realized world full of shifting settings, history, and complex political intrigue that completely draws the reader in. At times, I wasn’t sure if I was reading a comic, playing a game, or watching a movie — a stylistic blend I’ve rarely encountered. I’m already looking forward to Volume 4 and can’t wait to reread the first three to uncover even more of Takeda and Liu’s extraordinary world.

Book Information:
Monstress Vol. 1: Awakening • Marjorie Liu, Sana Takeda • Cross Cult • 192 pages • ISBN 9783959810579
Monstress Vol. 2: Blood • Marjorie Liu, Sana Takeda • Cross Cult • 144 pages • ISBN 9783959810616
Monstress Vol. 3: Haven • Marjorie Liu, Sana Takeda • Cross Cult • 144 pages • ISBN 9783959810654