After the success of the first adaptation of Warriors into graphic novels, it is no surprise to see them continue. Warriors Graphic Novel: The New Prophecy #1 came out yesterday on Tuesday, June 30th.
As with the adaptations of The Prophecies Begin, the graphic novels for The New Prophecy will cover two books each; the first one covers Midnight and Moonrise. While the original novels are by Erin Hunter, this graphic novel is adapted/written by Gibson Twist and illustrated by Sammy Savos.
The art is beautiful! I’m impressed they were able to fit almost every single plot point into this adaptation, albeit with some timeline switches and changes. I think The New Prophecy is a great arc to adapt into a graphic novel, given that a lot of the smaller scenes translate well into simple images and aren’t as plot-essential as actions from The Prophecies Begin. The story had plenty of nods to the original books while making it fresh.
I do want to briefly mention the graphic novel’s strange naming. I’ve seen it called Warriors Graphic Novel: The New Prophecy #1, but also Warriors The New Prophecy: Graphic Novel #4. The spine and inside of the novel indicate it is number four, a continuation of these adaptations; yet, when buying or reviewing it, it’s the former. Marketing wise, I can understand calling it number four. I prefer using The New Prophecy #1.
Regardless, keep reading to hear my full thoughts. This article contains spoilers for the The New Prophecy, as well as the graphic novel.
The first adaptation of a new arc is always going to be a challenge to dissect, especially with the artist changing. As such, I’ll be breaking this up into sections: a difference from the first adaptations, art, plot, and LGBTQ+ nods.
A Key Difference from the Other Adaptations
This discussion will be short, but I would’ve been bothered if I didn’t mention it. What is really bothering me is that these new adaptations aren’t broken into parts within the graphic novel. The Prophecies Begin #1, #2, and #3 were separated into a prologue and three parts each. At least two of the parts were named after the books the graphic novels were covering.
In The New Prophecy #1, it starts with a prologue and then merely states “Part One: Midnight” on page eight. I thought I was going insane scouring the other pages for the next two parts, expecting at least one to be called “Moonrise.” Then, I realized the very start (and front) of the book says “Part One of Three,” so, the graphic novel itself IS part one.
This is the tiniest complaint ever, but it matters to me. Sectioning it into parts helps break up the story. It gives the reader a spot to stop, breathe, and reflect. I also find myself mourning the loss of the book titles. For the second adaptation, will they use Moonrise or will they pick one of the titles from books three and four instead (Dawn or Starlight)?
If I were them, I would’ve stopped “Part One: Midnight” around page 114, then give a new title. Perhaps they could’ve gone with “Part Two: The Sundrown-Place” or “Part Two: Territories.” Around the point where the traveling cats enter the mountain, I would name it “Part Three: Moonrise.” The parts would be uneven based on page numbers, but the previous adaptations were the same way.
Art
Obviously, the art is different. Sammy Savos is a different artist than the married couple that illustrated The Prophecies Begin, Natalie and Sara Riess-Goetter. Though I can understand the upset at the artist changing (originally, I was pretty angry about this myself), I absolutely love this art style. The softness of the lines, coloring, and shadows are so soothing to my eyes. The gentle whimsy of it reminds me of Wayne McLoughlin’s original Warriors illustrations.
The characters themselves are a wonderful blend of cartoon and realism. I like how proportional everything is, and the way they’re moving hasn’t given me the impression of being too human. Don’t get me wrong, I love the different silhouettes and body shapes from the first three graphic novels. The characters could be easier to distinguish that way. But that doesn’t mean these characters are impossible to figure out in this art style. They all have small differences. Brambleclaw is larger than most cats and Squirrelpaw’s tail is unique. If you pay attention to their ear and head shapes, there are subtle differences. Some cats have smaller ears or fluffier tails. Plus, their cheek and forehead fluff have different shapes. You have to pay really close attention to their different markings, too.
Now, characters when in the background have less focus and are harder to differentiate. I’ll even say it gives me a little pause to figure out side and background characters themselves when they’re on the page.
I also know a possible complaint is the previous artists were able to exude more expression out of the characters. I agree with that to a point, but I don’t begrudge Savos’ art for not having as cartoonish of faces. I still find a lot of silly shots give proper comedic relief. When Squirrelpaw surprises the hunting patrol in the beginning, Brambleclaw and Thornclaw look in disbelief while Ashfur and Graystripe share a chuckle.
As for the designs of characters, a lot of them carry over from the other adaptations. Firestar, Sandstorm, Leopardstar, and Cloudtail are the most notable designs I recognized from their markings or eyes. Readers get some cute design details too, like the sprout on Leafpaw’s head or the bird wings on Ravenpaw’s chest (fun fact, if Ravenpaw became a warrior he would’ve been named Ravenwing).
I also noted some parent-to-kit similarities. The one that I loved the most was that Mudfur gave Leopardstar his tiny ears, but it also happened with Sorreltail inheriting the thick eyebrows of Whitestorm. Not to mention, Stormfur is like a mini Graystripe.
Also, I greatly appreciate Savos adding in Spirit and Rain as horses on page 73. I was obsessed with Spirit: Stallion of the Cimarron as a kid. Combining Spirit and Warriors made me smile.
A lot of the artistic decisions were phenomenal too. From Midnight’s differentiated speech bubbles to the astonishingly beautiful sundrown-place scenes to Sharptooth haunting Stoneteller’s image, every piece of art had me pausing to look deeper.
Sharptooth themself is terrifying. They’re large, blank-eyed, scarred, and ruthless. The atmosphere surrounding them gives credence to the threat.
A lot of the intense scenes were well-portrayed by Savos. I especially loved the depiction of Midnight’s cave, Stoneteller’s connection to the Tribe of Endless Hunting, and Feathertail’s fall.
Plot
The plots are where it gets interesting. Like I mentioned at the beginning, almost all of the plots were included in this adaptation. The major events that were cut included the following: the prologue from Moonrise with the Tribe, Midnight speaking “fox” and silencing Purdy on warning the Clan cats about the mountains, seeing ShadowClan and WindClan territory destruction, and Stormfur’s imprisonment, escape, and meeting the three exiled Tribe cats. Frankly, the last one was more changed than cut.
I didn’t mind so much that they changed some of the Tribe plots. For timing reasons, it made sense to get rid of the convoluted mess of the back-and-forth with Stormfur.
I was very much missing the scene about Squirrelpaw being stuck under the fence though. It showed how intelligent the she-cats were while the toms argued. It also emphasized Squirrelpaw’s stubborn personality. I wish we could’ve seen that depicted in the art.
In general, a lot of social interactions between characters were cut. While we see some of the friendship between Sorreltail and Leafpaw, they go on a lot more adventures together in the books. Those being shortened or changed is one of two of my biggest gripes about this adaptation.
My other gripe involves the “fire and tiger” omen that Cinderpelt receives. First, I have to explain why it landed where it did.
In Midnight, the chapters switch back and forth between Brambleclaw on the journey and Leafpaw back in the forest territories. Visually, without proper descriptors, how often it flips could be confusing for a graphic novel. The decision to show a majority of the journey first, then go back to the forest and show what was happening there was the correct one.
However, it did shift the “fire and tiger” vision to after the journeying cats left. In the original book, this vision happens before that. It sows distrust between Firestar and Brambleclaw and Squirrelpaw. It pushes Squirrelpaw to want to go on the journey, both to get away from the suspicion and to prove herself. This felt like important character motivation and development. With the vision happening after they’re already gone, the impact is lessened. I’m glad they didn’t cut it entirely, but still.
A decision I’m lukewarm about is the added involvement of Ashfur. I don’t remember him appearing as much in Midnight and Moonrise. In this graphic novel adaptation he is placed in important scenes like talking about Brightheart and Cloudtail being missing, seeing the first destruction of the forest, and witnessing the WindClan cats stealing.
I believe this is happening because of his importance later in the arc. Showing off his character will make it less shocking when Squirrelpaw and him begin to hang out. As much as I dislike Ashfur’s character, this decision seems sound.
I might be talking a lot about the “negatives,” but I want to highlight some of the positives as well.
The journey montage was so fun! Seeing all the moments I remember so well depicted in art made me laugh. They showcased them seeing sheep, cows, and horses, being separated into Twoleg gardens with the Twoleg kit and kittypets, as well as the carp fishing and escape and the rat fight.
Purdy’s character was just as fun as I was hoping. He gives off major grandpa-vibes (as he should) and was a powerful friend to the Clan cats. I didn’t even mind that they changed Tawnypelt’s rat bite injury from her shoulder to her leg because everything leading to it buttered me up.
Feathertail and Crowpaw are arguably depicted perfectly in the graphic novel, too. Crowpaw’s early blushing and Feathertail’s soft treatment of him through the journey showcase how they grow closer. The little images of them going off to hunt and talk were sweet.
I’d also argue that I like this version of Brambleclaw more than the book version. He is less arrogant and grumpy. While we do lose some of the leadership qualities you see between the scenes, I appreciate his kind-hearted, open face and goofy scenes. I only wish we saw more solo interactions between him and Squirrelpaw. I’m curious how that relationship will develop in the adaptation.
Though sad, I want to end the plot section by mentioning one of the most heartbreaking parts of the graphic novel. When Dustpelt emerges from the nursery holding his dead kit, Larchkit, I actually held a hand to my open mouth. The depiction of his shaking limbs rattled me to my core. It gives me hope that the other installments won’t shy away from the more serious events and deaths. With the destruction of their world imminent, the terrifying instances will make everything more impactful.
LGBTQ+ Nods
I couldn’t leave this article without calling attention to all of the cute LGBTQ+ moments throughout the graphic novel. When I heard that The New Prophecy would be adapted, I was excited to see the interactions between Mothwing and Leafpaw specifically. Little did I know we’d get more than that.
Readers get a cute moment with Ravenpaw and Barley when the journeying cats first visit the farm. While Barley is acting all shy, he eventually cuddles up with his mate.
Mothwing and Leafpaw also have their adorable fishing lesson. They touch noses in the graphic novel with little blushes on their cheeks.
The biggest (happiest) shock of all, however, was Sorreltail showing off some bisexual vibes. When Leafpaw asks her opinion of Hawkfrost and Mothwing, Sorreltail says both are really pretty. While she is correct, it is not something I expected!
Nothing makes me happier than the lean towards more queer representation in Warriors. It feels like our adapters, both before and currently, are glad to provide.
I could go on and on about all the extra thoughts I missed in this article. It is so difficult to stop writing. I didn’t even get to touch on the Twolegs capturing cats, Midnight in her full glory, Brook from the Tribe, or the sisterly connection between Squirrelpaw and Leafpaw. I leave my dear readers here.
I give this graphic novel adaptation five paws up (five stars)!
Want to read my reviews of the first three Warriors graphic novels? Click the links below:
Warriors Graphic Novel Adaption: Does it Work?
Warriors Graphic Novel #2: Claws Out!
Warriors Graphic Novel #3 Ending with a Bang
Check out the current list of future Warriors books:
Warriors: Super Edition #19: Darktail’s Judgement: September 8, 2026
Warriors: Changing Skies #4: Guiding Light: October 6, 2026
Warriors Graphic Novel: The New Prophecy #2: March 23, 2027
Warriors: Changing Skies #5: False Dawn: March 30, 2027 (no pre-order link yet)
