Comic Review: Demon Wars: Shield of Justice (2022) #1

Marvel Comics
Story & Art: Peach Momoko
Co-Script: Zack Davisson
Lettering: VC’s Ariana Maher

The second issue of Demon Wars, Peach Momoko’s follow-up to her innovative Demon Days, showcases the lofty peaks and undercooked valleys of the artist-storyteller’s unique approach to the Marvel canon.

If Demon Wars truly is Momoko’s retelling of Civil War, she’s taken a liberal approach. A Carnage-inspired demon lies at the center of her story. The conflict between the Iron Samurai (Iron Man) and the Shield of Justice (Captain America) serves as a brief diversion.

At times, Momoko’s story feels underdeveloped. Samurai and Shield are featured prominently on covers and throughout Demon Wars #1. But their seemingly final showdown is lightning quick, lacking both impact and clarity. The yokai characters have no past, no history, despite being hundreds or thousands of years old.

More often, Momoko’s narrative moves with the whimsical cadence of a fairytale. Mariko feels small and out of place in a world of magic that springs up around her with little explanation. Her story is told in broad, sympathetic strokes, with no need to linger on the convoluted plot mechanics and melodramas that colored the original Civil War. Still, a few more pages for the quarterly prestige wouldn’t hurt.

Despite any storytelling shortfalls, Momoko’s Mariko Yashida continues to shine as a protagonist. Mariko is equal parts shy, curious, brash, and cheerful. She provides both physical comedy, such as her graceless retreat from the yokai gate, and iconic action panels, including her grotesque hanpo jaw armor transformation.

Mariko’s character is frequently developed through internal monologue. A familiar tactic in comics, it’s effective and fitting in Demon Wars. A human surrounded by yokai, Mariko is a stranger in a strange land. Often, the only person she can turn to is herself. These quiet changes are buoyed by external character moments via dynamic facial expressions. Mariko shows shock and confusion when the gate to the yokai world burns to nothing before her eyes, utter terror confronting ferocious Nekomata (Black Panther), and cool determination as she draws her tanto against Yamato.

The cast outside of Mariko gets less attention, which may be an issue if Momoko intends (please!) to expand her universe. That said, the enchanting designs and reader familiarity with the 616 counterparts is enough. Peach really has a creative mind–imagine, a Spider-Man that doesn’t talk much!

Momoko’s stories shine brightest at the artistic level. Her incredible sense for layouts, something readers couldn’t necessarily expect from a variant cover specialist, is once again on full display. She assembles pages in the yokai world like careful puzzles, with big environments and action moments layered with small closeups on glares, punches–or simply a cute bunny popping its head out of a tree. Mariko’s cursed mind, by contrast, is depicted in big, wide spreads conveying space and loneliness.

Momoko’s outfits are again a highlight. Mariko’s striped cape is a favorite. It’s one thing to design a character beautifully, with style. It’s another thing altogether to dress them.

The issue ends by teasing the return of a character from Demon Days. It’s a development that stirs excitement for Demon Wars #3 and helps flesh out both Mariko and the greater Momokoverse.