There is something worse than demons.
Throughout Devilman Crybaby, I’ve talked about the demons as examples of the grotesque, of the distorted and violated human body as a representation of the violation of social norms. We have also seen that Akira’s compassion, his tears, are what give him control over the demon within him.
But with Koda, we see something else. We see, in his dream sequence, his demon equated to homosexual sex, threatening to emerge as he fucks his unnamed partner–but his sorrow over Junichi, the boy he loved who died violently at the hands of a demon (presumably at the same time Koda himself was possessed), preserves his humanity.
Ryo tells us that these feelings–caring, love, compassion–are nonexistent in demons, that they have emotions but no conscience, no capacity to care for others. But as we saw last episode, this is a lie: demons can have feelings for each other, even sacrifice themselves to help each other. The only person we see acting entirely without compassion is Ryo, who allows a stadium full of people to be slaughtered just so that he can get his message out to the world. This could be defended as a necessary sacrifice to prevent a greater threat, except for one key detail: Ryo shows no sign of caring at all. He is gleeful about the success of his plan, which demonstrates that whatever his motivation is, it is definitely not that he cares about demons’ potential victims.
That much is fairly obvious: the show has been increasingly framing Ryo in villainous terms throughout. More interesting is how this interacts with the idea of the grotesque as a violation of social norms, the equation of the demon with homosexual intercourse but the human with homoromantic love.
We live in a society based on norms–sets of rules that define the ranges of normal, acceptable behavior. Outside those norms lies people and behaviors which deviate from those norms, and which can hence be referred to as deviant. This relationship maps neatly onto the Us-Them or Self-Other divide: the norm is that which describes the idealized extended Self, the “best” version of the community within which an individual is socialized, while deviance is the defining trait of the Other. All forms of deviance, harmful and harmless, are thus projected onto the Other: for example, we assume the existence of “criminals” as a distinct type of person, that someone who commits one kind of deviant behavior (acting unlawfully) is automatically equivalent to someone who commits another kind (acting violently) and, further, that we normal people would never commit either kind of behavior. The same kind of blurring-together of the Other is at work in racists calling the cops on people of color engaging in perfectly innocuous behavior–one kind of deviance from the norm (of whiteness) is treated as equivalent to another deviation (criminality). Countless other examples abound.
Now look again at what Ryo has to say about demons: that they have no conscience, no non-violent emotions, no capacity for love or compassion. Yet we have already seen that is false, with Selene and her lover–and, for that matter, with Akira! He is not actually different from any of the other demons in any essential sense–like Koda and Miko, he is a human possessed by a demon, resulting in a fusion of both. Grotesquely, he straddles the boundary between Us and Them, normal and deviant. But it is the function of the grotesque to call into question that very boundary, to call attention to the fact that we created it ourselves, essentially arbitrarily.
Ryo’s contradicting belief, stridently stated, is that the people outside of the norm aren’t really people. They don’t feel like we do, don’t have compassion or love–they’re just monsters, according to Ryo, capable of nothing but violence. He points to their violence as proof that they are Other, and then the fact that they are Other to deny them any kind of humanity or any possibility of coexistence. Between Us and Them, he tells us, there can only be violent struggle; what’s more, They are everywhere, living among Us in secret, and must be rooted out by any means necessary, no matter the cost.
This is recognizably the call of the fascist. Substitute who you like for Them–Jews, communists, “illegal” immigrants–but it’s always the same. They are an existential threat to Us, subversive, violating our norms just by existing, and They must therefore be killed, or at least violently expelled. And if the cost of achieving that is the death of a great many of Us as well, so be it.
In this light, Akira saving Koda instead of killing him is his first step into revolutionary consciousness, into the awareness that he has more in common with the Other outside of the norms than he does with the people willing to use violence to maintain them. That the true struggle is not between human and demon, but between those who are able to coexist and those who refuse to try. Between those who straddle the boundaries and those insist on remaining inside. Between, in short, the grotesque and the normal.
Here’s hoping the grotesque win.
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