Academic Reading Guide Developed by Pop Culture Classroom

Monstress

Marjorie Liu | Sana Takeda

Overview

The graphic novel Monstress, written by Marjorie Liu and illustrated by Sana Takeda, explores themes of identity, conflict, innocence, family, and friendship as its characters navigate an alternate world torn apart by a war and oppression. Featuring settings that juxtapose art deco beauty and steampunk horror, where science and magic are indistinguishable and ghosts of ancient gods walk the earth, Monstress is a powerful story of loss, revenge, and redemption in the face of tremendous odds.

Focusing on a teenage survivor of war named Maika Halfwolf, Monstress tells the story of Maika’s epic journey across this world as she struggles to control a growing power inside her and find out more about her mother, Moriko, a famed explorer and scholar who was mysteriously murdered during a deadly war between humans and Arcanic Halfbreeds (half human / half monster) when Maika was a young child. As Maika grows older and finds out more about her and her mother’s past, she discovers that her inner Monstrum—an ancient being with whom she shares a body—is coming alive more and more each day. As its power grows, she worries about whether or not she will be able to protect herself and her friends from the Monstrum's insatiable hunger.

Torn between episodes of wolf-like hunger and a deadly temper, Maika is both a hunter and the hunted as various forces track her down. Her journey leads her to unexpected places and to ancient powers of good and evil, all the while revealing new clues about her mother’s life and the legacy she has left behind for Maika to discover, one piece at a time.

Elements of Story

Characters

Maika Halfwolf is a teenage Arcanic who has witnessed her mother’s death and lived through a cataclysmic war. With a Monstrum trying to emerge from inside her, and a growing desire to better understand her past and how it will inform her future, Maika knows deep down inside that she must figure out her mother, Moriko’s, story in order to understand her own.

Kippa/Young Fox is a young Arcanic and a loyal, devoted companion to Maika Halfwolf as they continue their perilous journey. Her loyalty never wavers, and she demands loyalty from those who befriend Maika as well.

Master Ren is a Child of Ubasti and “Nekomancer,” meaning he can talk to spirits. Even though he joins Maika and forms a close bond with Kippa on their journey, his loyalties are shrouded in secret and his allegiances are constantly shifting.

Zinn/The Monstrum is an ancient, powerful force that lives inside Maika Halfwolf. Also called the “Monstrum” by Maika and others, Zinn occasionally takes control of Maika’s entire body to protect her or feed on living prey, often against Maika’s will.

Tuya is an Arcanic and Maika’s former friend and companion. After escaping with Maika’s help from a prison camp, Tuya and Maika part ways and Tuya becomes “The Baroness” of The Dusk Court. It’s unclear what her ultimate intentions and motivations are.

Races

Humans are considered an exiled caste cursed to live without the help of magic, though some female humans do exhibit mental powers like telepathy, telekinesis, and fortunetelling. Humans are taught to hate Arcanics and other magical creatures, though they do maintain a tenuous peace after The Great War.

Cats are considered the oldest known race and are often called “Children of Ubasti,” a being more ancient than the Old Gods, according to legend. Often possessing many tails, the cats in Monstress can talk, walk on two feet, and fight. Many call themselves poets and Nekomancers, those who can talk to ghosts.

Old Golds lived long before recorded history and are shrouded in mystery. Their ghosts still walk the worlds in Monstress, and they are believed to possess incredible and destructive power. According to legend, the Old Gods have

been banished to wander as powerless shadows through the world, though some believe one of the Old Gods still slumbers, waiting to rise.

Ancients are a race wrapped in mystery and often appear in the form of humanoid animals, such as wolves, bears, foxes, and tigers. It’s unclear whether Ancients descended from these beasts, or if the beasts are their children. The Ancients possess incredible magical powers and near-immortality, rule vast kingdoms, and often have hundreds of offspring.

Cumaea is a group of all-female humans, also known as “Witch-Nuns,” who believe that the human bloodline is tainted by the Arcanics and seek to “purify” the world of the Arcanic race. The Cumaea are led by a mysterious figure named Mother Superior and are responsible for stoking many of the conflicts between Arcanics and humans within Monstress.

Arcanics are hybrids of humans and ancients. They possess many of the powers of the ancients, but are often able to “pass” as human. They are often hunted and even considered by some, especially the Cumaean, to not be their own race.

The Dawn Court and Dusk Court are two different factions formed by Arcanics and Ancients long ago, with diverging interests and goals that are still emerging. They seek to control the balance of powers in the world of Monstress and are made up of magical beings and warriors possessing tremendous influence and power.

Settings

Zamora is a trade city that once housed traders both human and Arcanic, acting as a meeting point for travelers to share goods and information. Because it sits on the border between the Arcanic Realms and the human realms, it is now a place of great conflict and suspicion where the threat of war is a constant.

The Arcanic Realms house cities and palaces ruled by the Ancient Ones, the Dawn Court, and the Dusk Court. Divided by a massive wall from human-controlled cities, the Arcanic Realms offer a safe harbor for Arcanics and others threatened by the Cumaea.

Thyria is a sacred city in Monstress for ocean cultures. Run by the Pirate Queens of Thyria, the city is the site

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of a famous battle from the Great War and, according to legend, is protected by the Wave Empress. Maika travels here on her way to the Isle of Bones and meets a former friend of her mother.

Isle of Bones is a mysterious island wrapped in a thick layer of fog and surrounded by ghosts and sea ghouls. The Isle is built atop the bones of an Old One. Maika travels to this strange land to learn more about her mother’s past from an Ancient named Lord Rohar, who has been imprisoned on the island for thousands of years.

Common Core Alignment Standard

Strand/Number Description Classroom Application

All College and Career Readiness Anchor Standards for Reading, Specifically CCSS.ELA-LITERACY.CCRA.R.7

Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.

1. Select a movie or television show that has themes of transformation and identity and ask students to view/read both and compare/contrast with Monstress. 2. Ask students to analyze a panel or page of Monstress, noting how text and image work together to convey one or more central themes and develop characters. Encourage them to consider the way the author implements diverse forms of language – visual, verbal, and nonverbal – to support these elements.

11th/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.1

Key Ideas and Details: Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

1. Ask students to analyze Maika’s character by keeping a running record of quotations and images that track her storyline and character evolution. 2. After reading each chapter, ask students to make an inference about something that is implied in the text, but is not explicitly said. This could relate to character relationships, past/future events, etc. Ask them to cite evidence in the text or images that led them to that inference.

11th/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.2

Key Ideas and Details: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide an objective summary of the text.

1. Before reading, ask students to choose two themes that interest them and track their progress throughout the story by placing annotated post-it notes on pages that best highlight their selected themes. 2. After reading all chapters in a volume, ask students to provide an objective summary of the text. Ask students to peer review each other's summaries, looking for errors in objectivity. After, share out an example of work that has been edited to be more objective, highlighting positive edits.

11/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.3

Key Ideas and Details: Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).

1. In small groups, have students draw random elements of story from a container. In their groups, and while reading together and thinking about their particular element of story, ask students to keep a list of the top 5 pages that best highlight their element of story. 2. After reading each chapter, have students map out the elements of story arc by placing post-it notes on pages or panels that best highlight these plot elements. Students can also map out each character’s arc throughout a chapter or volume, noting where characters are introduced and how important story events affect each character directly and/or indirectly.

11th/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.4

Craft and Structure: Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh, engaging, or beautiful.

1. Before reading, pull 5-8 significant quotations from the story. Ask students to write short reflections about the quotations before reading, during reading (in the reading moment when found), and after reading (reflecting on them as an overall group of quotations about the story). 2. As students are reading, ask them to place a sticky note to identify instances where a character’s meaning is different than what they say. Ask students to write down what the character is implying through their words, and what evidence in the text or images leads them to believe this. Students can also identify what motivates the character to use sarcasm, metaphors, or other figurative language.

11th/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.5

Craft and Structure: Analyze how an author's choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.

1. Give students a graphic organizer with 6 columns (6 columns = 6 chapters per graphic novel). Ask students to analyze what Maika learns about herself and in what moment/chapter. After completing the 6 columns, and in a short essay response, have students analyze what Maika learned about herself in that graphic novel and what they predict she may learn about herself in the next volume (note context clues if applicable to analysis). 2. Most chapters end with a lesson from Professor Tam Tam. Ask students to form small groups and discuss why the author included each specific lesson from Professor Tam Tam at the time that she did. How does each of these specific lessons add to the reader’s understanding of the story and world at the end of that chapter? Have a representative from each group share with the class.

11th/12th Grade, Reading Literature, CCSS.ELA-LITERACY.RL.11-12.6

Craft and Structure: Analyze a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement).

1. Assign students a particular character from the graphic novel. Tell them they are to take notes next to their character’s quotations, marking quotations for sarcasm, satire, irony, literalness, figurative language and so on. 2. Assign each student a character whose point of view they will assume. As that character, have students write a short paragraph which describes how they feel about another character in the book. After, ask students to cite evidence in the text to support their point of view. Evidence should include satire, sarcasm, irony, understatement, etc.

11th/12th Grade, History/Social Studies, CCSS.ELA-LITERACY.RH.11-12.3

Key Ideas and Details: Evaluate various explanations for actions or events and determine which explanation best accords with textual evidence, acknowledging where the text leaves matters uncertain.

1. Provide students with an overview timeline of the events in the story. Students can draw lines both below and above the timeline to indicate various explanations for actions or events. Tell students to write question marks where matters are left uncertain and to note any questions they have as readers due to uncertainty. 2. As students read, ask them to document different conflicts throughout the book (i.e. Humans vs. Arcanics, Monstrum vs. Humanity, Cumea vs. Dusk Court, etc.) Citing the text, ask students to identify the reasons for the conflict given by at least two characters in the book. Finally, have students synthesize the given reasons, and infer the objective reasons for the conflict.

11th/12th Grade, History/Social Studies, CCSS.ELA-LITERACY.RH.11-12.7

Integration of Knowledge and Ideas: Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem.

1. Before reading, ask students to read only the Professor Tam Tam pages and consider what they think will happen in the upcoming storyline. Next, ask students to read the story and to take notes in Professor Tam Tam style, notes that could potentially be added to his lectures to help future readers further understand the storyline and context at each of his helpful intervals. Finally, after reading, ask students to write a short, evaluative presentation as if they are Professor Tam Tam. Professor Tam Tam presentations should focus on how he sees his own insights integrating and effecting the storyline for readers. 2. Ask students to isolate propaganda found in Monstress and compare it to wartime propaganda from WWII. Ask students to identify what questions these pieces of media address, or what problems they aim to “solve” in our world, and in the world of Monstress.

Source: http://www.corestandards.org/ELA-Literacy/CCRA/R/

Key Themes

Balance – Each character struggles in the graphic novel to balance their own needs, the needs of their representative community/race, and the needs of the larger world around them.

Propaganda – Many of the conflicts in the book are built on misunderstandings or just plain lies about individuals and races. This propaganda is most often driven by elements of racism and classism within the graphic novels.

Identity/Otherness – Each character struggles with the notion of “double consciousness,” attempting to separate their personal identity from the identity placed upon them by another person or culture. As a result, they are forced to measure themselves through a variety of cultural lenses and frequently perceive themselves as “the other.”

Innocence vs. Temptation – Each character embodies a different influential element of Maika’s struggle between innocence and temptation. This constant battle between light and dark is most evident in Maika’s struggle with the monster inside her.

Ends vs. Means – Each of the characters is working toward their own definition of “the greater good.” But at what cost to themselves and others? And, in each instance, do the ends justify the means?

Leadership – The graphic novel presents readers with various views on what makes a good leader in times of conflict.

Loyalty – Loyalties are tested throughout the graphic novels, fraying the bonds between families, friends, and communities while showing how blind loyalty can lead to great and terrible consequences.

Friendship – What makes a good friend? Characters struggle to answer this question throughout the book as their allegiances wax and wane. This is best represented in the friendships between Maika, Kippa, and Ren.

Familial Legacy – The relationships between children and parental figures influence the personalities and desires of each character in different ways. Families are formed by blood, by choice, and by the need for survival throughout the graphic novel.

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Indifference vs. Action – Characters struggle with the consequences of their actions. Is it better to do nothing, or take action at the risk it might lead to greater harm?

War/Conflict - War and conflict impact every character and setting in different ways. Some revel in conflict and take advantage of the chaos it creates, while others fear and avoid it at all costs.

Theme-Driven Discussion Questions

• Masks are a common symbol throughout the text. What about masks are significant within the larger themes of the book regarding identity? How do masks serve to help and hurt each of the characters – literally, figuratively, or both? Themes: Identity/Otherness, Loyalty, Propaganda

• Each of the characters in Monstress struggles to navigate the disparity between their inner and perceived identities, and how this affects their interactions with the world around them. How is this struggle mirrored in the news cycle, or in modern day society? Themes: Identity/Otherness, Loyalty, Friendship, Familial Legacy

• Politics play a big role in Monstress, directly affecting the characters’ lives and chances for survival. What real-world political systems do the governments and cultural systems in Monstress most represent? What kinds of critiques do you think the author is making about social, political, and cultural systems we abide by today? Themes: War/Conflict, Leadership, Propaganda, Ends vs. Means

• War and conflict are key features of the Monstress universe. What purpose do these themes serve and how do they impact each of the characters in the book, specifically? How do the authors show the “internalization” of war and conflict in their characters? Themes: War/Conflict, Balance, Innocence vs. Temptation, Ends vs. Means

• Color is used throughout Monstress to create distinct moods and tones, as well as to convey internal changes in the characters. How do the colors used support these literary elements, and to what end? How do they create visual tension within and across multiple pages? Themes: War/Conflict, Propaganda, Identity/Otherness

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• Is there any true “greater good” in the graphic novel? Do you believe any of the characters are truly worth redeeming? If so, which character(s) and why? Themes: Innocence vs. Temptation, Ends vs. Means, Loyalty, Leadership

• What makes a successful leader in Monstress? Is it loyalty, power, connections, or something else? What specific examples would you use to support this argument? Themes: Leadership, Ends vs. Means, Familial Legacy, Loyalty,

• The world-building in Monstress happens through text, images, layout, and color. How do these elements work together to build the world in Monstress, and how do the authors utilize artistic and literary techniques to create a fully realized world for readers? Themes: Propaganda, Balance, Innocence vs. Temptation, Identity/Otherness

• Form is key to understanding Monstress’ many converging storylines. What purposes do the included flyers, lectures, infographics, and other forms of visual storytelling in Monstress have on the reading experience and your understanding of themes within the story? Themes: War/Conflict, Propaganda, Ends vs. Means • Propaganda is used for varying affects in the world of Monstress. How do the conflicting perspectives of each faction shed light on the larger conflict between Arcanics and humans? What does this say about the power of graphic storytelling to influence popular opinion? Where do we see similar tactics in history and in the modern world? Themes: Propaganda, War/Conflict, Identity/Otherness

Paired/Further Media Suggestions

• The Harry Potter series (novels) • The Walking Dead (comic series) • Fables (comic series) • Paper Girls (comic series) • Fun Home (graphic memoir) • I Kill Giants (graphic novel) • She Kills Monsters (play) • The Wicked + The Divine (comic

series) • East of West (comic series)

• Hamlet (play) • The Wizard of Oz (movie) • War Horse (movie/play) • Ken Burn’s The War (documentary

series) • Undertale (video game) • Hellblade: Senua’s Sacrifice (video

game) • Bound (video game) • The White Knight (graphic novel)