The Philosophy of Devilman Crybaby: Moral Panics and Dualism

Devilman Crybaby explores moral panics, threat construction, and dualist metaphysics, challenging the boundaries between good and evil.

### The Philosophy of Devilman Crybaby: Exploring Boundaries, Dualism, and Moral Panic
* 👿 The show uses the concepts of "**moral panics**" and "**threat construction**" to explore how mass media constructs threats and justifies social control over certain groups.
* 💥 Ryo manipulates media to create a moral panic over devils, expanding the definition of '**devils**' to include anyone **deviating from the norm**.
* 🌍 Following the model of threat construction, Ryo starts WWIII by **manipulating US foreign policy weaknesses**.
* ☯ ️ Devilman Crybaby initially presents a dualistic worldview but challenges it by **blurring the lines between good and evil**.
* ❤ Despite Ryo's claim that devils lack emotions, the show depicts devils capable of **love and emotions**.
* ❓ By questioning the labels we apply to others and the consequences of black-and-white thinking, the show asks tough questions about **media scapegoating, threats, and the nature of good and evil**.

Hey Wisecrack, Jared again. And today, we’re taking a look at the show
that dares to ask the question: how much body horror can we realistically animate in twenty-two
minutes? I’m talking about Netflix’s devilishly
good anime offering, Devilman Crybaby. While you may know it by its reputation as
‘that show with lots of incredibly violent humping, ‘cartoon boobs, ‘and incredibly
violent cartoon boobs,’ Devilman Crybaby has some deep things to say about metaphysics,
the media, and even international relations. So, welcome to this Wisecrack Edition on The
Philosophy of Devilman Crybaby. As always, spoilers ahead. And by the way, we never get it right if you
want dubs or subs, so we literally flipped a coin, and it landed on dubs, so be happy. But before we get into the recap though, I
just want you all to know we’re working

hard trying to put together an anime podcast. It’s in very early stages, but a lot of
our best video ideas start from podcast discussions, so subscribe to our channel Wisecasts to get
a closer look into our creative process. Anyway, on to the recap. Akira, a teenage boy known for crying over
almost anything, is living with the Makimura family while his parents travel the world
providing free medical care. When he tries to save his crush/housemate
Miki Makimura from what looks like a gang, Akira is interrupted by his trigger-happy
adoptive brother and childhood friend Ryo, recently back in Japan after a research project
in South America. Ryo tells Akira what he learned abroad; namely
that devils are real and that they are possessing human beings. Trying to collect proof of his theories, Ryo
takes Akira to a drug-fueled sex party called ‘Sabbath,’ where his bloody rampage actually
succeeds in summoning a group of demons, one

of whom tries to possess Akira. That demon, Amon, fails to take over Akira
completely. Akira gains the strength and power of a devil,
but is still in control of his mind and body. “You're a man who possess both the body
of a devil as well as the heart of a human. Devilman.” While Ryo and Akira initially plan to use
his powers to fight the devils, the show gradually reveals that there’s more to Ryo’s plan. When the demon threat is revealed to the public,
Ryo gains immense influence with world leaders, turns on Akira and promotes policies which
promotes the murder of not only devils, but millions of human beings. This all comes to a head in the big reveal:
“You see, I’m Satan.” Yep. Followed by a massive human-devil-Devilman
battle culminating in the end of the world. So, how did we get from a bad night at the
club to the apocalypse?

The answer has to do with two distinct but
related concepts: “moral panics” and “threat construction.” Sociologist Stanley Cohen argues that mass
media constructs a “moral panic” directed at certain groups of people by portraying
their behavior as deviant. Society labels these people a threat, which
justifies excessive social control and policing over the “demonized” population. As he put it, “[The media] informs us about
right and wrong, about the boundaries beyond which one should not venture and about the
shapes that the devil can assume”. Devilman Crybaby references a few well-known
moral panics. For instance, local news falsely identifies
the young rappers as members of a gang. The mistake - and their resemblance to the
constructed stereotype of violent youth nearly gets them shot by police, even as they try
to cooperate with the officers. The show also references the archetypal moral
panic: witch-hunts.

For her almost supernatural speed, Miki is known to the media as ‘Kamioka's witch of track and field.’ As a result, the mob calls her a witch! She's an outsider! before killing her and burning her body. More to the point, though, is Ryo’s use of mass media to create a moral panic over devils. After triggering Koda’s transformation at the track meet and causing a massacre, Ryo uses his livestream to sow fear and mistrust among the general population: Demons exist... There could be one right next to you.” Taking advantage of his academic title, Ryo claims to be merely a reporter of the “facts;” in fact, he uses multiple media outlets, including social media and traditional broadcasting, to promote as much fear, paranoia, and violence as possible. In this battle against the demons, I'm sure that we will win once again. As the end of the world draws closer, Satan/Ryo encourages more and more violence by expanding

the definition of ‘devils’ to include anyone deviating from the social norm. He falsely implies that deviant behavior is a proven indicator of the potential to turn into a devil. So you are saying anyone dissatisfied with society can potentially turn into a demon? That's correct. So, then, in order for us to defeat the demons— We must eradicate them before they become demons. He pulls off the same feat at the international level through a process scholars call, “threat construction.” Certain camps of foreign policy theorists argue that many international threats posited by national leaders are largely ‘constructed’ -- that is, issues become threats when people in positions of power define them as such. Like creating a moral panic, threat construction involves identifying some ‘other,’ whether that be another country, an organization, etc., and defining its otherness as a danger. The other is portrayed as not merely a physical threat, but a threat to the very identity

of the domestic state. Political scientist David Campbell explains
that, in the process of threat construction, “[The other becomes] the barbarian who stands
in opposition to the ‘civilized’ self”. Following this model, Ryo manipulates inherent
weaknesses in US foreign policy to start WWIII, beginning a nuclear conflict which wipes human
life from existence. Ryo takes part in a high-level government
discussion about how to handle the threat posed by the devils. By this point, world leaders have bought into
Ryo’s logic completely and have become distrustful of one another: We must be wary of the movements
of neighboring countries. There's information that they've already been
taken over by the demons. In response to the situation, the US government
reflexively identifies Russia as a ‘geography of evil’ (a term coined by Campbell), and
declares that devil possessions are the product of a Russian bioweapon: The US department
of national defense closed its borders in

response to the possibility of demons being
Russia's biological weapon. In Devilman Crybaby, the US and Russia respond
to the devils much as real-world governments respond to terrorism. Because the threat is ‘barbaric’ and a
threat to civilization, no measure is too extreme to stop them, including nuclear war:
Annihilate this demon insurgency that threatens our capital!” The show explores the dangers of throwing
up artificial boundaries between groups. The bloodshed and heartbreak that fills up
the last few episodes are a direct result of the public’s willingness to buy into
Ryo’s ‘us vs. them’ mentality. Maybe you can run faster than people because
you're a demon! You think you're better than the Japanese? This preoccupation with boundaries is also
reflected in the show’s exploration of what’s called Dualist metaphysics”. So what does that mean? Dualism posits that reality is binary or oppositional
in nature, composed of two eternally clashing

irreconcilable forces, such as good and evil. One of the classic examples of dualistic philosophy
is the ancient religion of Manichaeism. As religious scholar Todd Calder explains,
“According to Manichaean dualism, the universe is the product of an ongoing battle between... good and evil substances which are in a constant
battle for supremacy. At first glance, the show appears full of
binary oppositions which will never be resolved. For instance, Ryo is distinguished from Akira
by his inability to shed tears, which serves as a visual cue for the ability to feel emotion. Why would I cry? I'm not sad. It was going to die anyway. The show also sets up a sharp divide between
fear-based violence and the Makimuras’ Christian pacifism: One of the people who was following
Jesus pulled out his sword, attacked the soldier, and cut off his ear, so then Jesus said to
him, 'Put away your sword and return it to

the sheath.''' Ryo is a dualist to the core. He describes devils as fundamentally lacking
in the human capacity to feel: Devils have existed on earth since long before humans. They are ferocious, extremely savage, and
have no emotions. What’s more, the show takes that Manichean
idea of a battle between “good and evil substances” very literally. Ryo first discovers the existence of devils
when the corpse of his formerly-possessed professor is revealed to weigh twice the
size it was when he was alive. This possession, in other words, was not only
spiritual, but physical — a case of two bodies, one ‘good’ and the other ‘evil,’
fighting for the same space. The show emphasizes the material dimensions
of this battle between good and evil whenever a devil successfully takes over a human host,
often ripping apart their body in the process. Over time, however, Devilman Crybaby winds
up turning this dualistic model completely

on its head. The show reveals the socially constructed
nature of the dichotomies many of its characters take for granted, and argues that reality
is far too complex to be put in terms of black and white. As panic over the devils’ threat reaches
its tipping point, the show blurs the line between good and evil. One of the more obvious examples is Akira,
who, by his very nature, challenges Ryo’s dualistic model of the world: in one person,
he combines devil and human, good and evil. We see this when Akira, in his Devilman form,
stands between an angry lynch mob and its targets and offers up his life for theirs.
Why kill each other? If you're going to kill someone, just kill
me instead! defying the angry and fearful humans’ expectations. By contrast, we see an example of supposedly
‘good’ humans resorting to evil when the mob dismembers and burns Miki Makimura for
her public support of Akira, and other ‘Devilmen.’

Devilman Crybaby also loves to play around
with dichotomies surrounding gender and sex. The show regularly hints at an ambiguously
queer relationship between Akira and Ryo. Akira remains invested in his ability to openly
display emotion, even after being mocked for it as a child. What the heck? He's crying even though he's a boy! And in his final form, Satan embodies both
male and female sex characteristics. But perhaps most interesting is the way the
show blurs the lines between devils — stand-ins for the outcasts and scapegoats of society
— and the humans they are supposed to be so different from. Mr. Makimura eventually finds his wife and
their son, Taro, in a refugee camp. Unfortunately for him, it isn’t the reunion
he’d hoped for. Taro, now possessed by a devil, can’t control
his own hunger any longer. His father arrives to find him in his demonic
form, eating his own mother.

Mr. Makimura tries to fall back on the socially constructed dichotomy between devils and humans to reduce Taro to an evil creature and make some sense of the horror confronting him: Taro, you are no longer my sweet son. This for your own good. But in the end, he can’t help but see his human son in the devil’s crying eyes: Please don’t shoot; that’s my son in there. The show also provides plenty of evidence to exhibit that, contrary to Ryo’s claim that devils are incapable of emotion, they are actually quite capable of feeling love for each other, and, in some cases, for humans. In the episode “Beautiful Silene,” Akira gets into what can only be described as a deadly sex battle with Silene, the former lover of Akira’s devil, Amon. In the first round of their fight, Akira nearly kills Silene. But as she lies bleeding out, her partner Kaim comes to her aid, offering to give up

his life so that she can merge with his body
and live long enough to kill Devilman. “But why?” “Silene... even bloodied, you are beautiful.” Kaim’s sacrifice even causes Silene to cry. Most impressive of all is the change that
comes over Satan himself as a result of his experiences with Akira. Having revealed his true form to Akira, Satan
admits that he made the merging between him and Amon possible so that Akira would be able
to survive the apocalypse and live with him forever. Oh, Akira, let's live in the new world together. I made you merge with the champion Amon for
that very reason. What’s more, when Satan kills Akira during
their battle, he, king of the devils, experiences grief for the first time, and cries over Akira’s
body. Right now, I'm feeling something! What is this? By pointing out fluidity where we would expect
to find hard boundaries, Devilman Crybaby

asks us to think hard about the labels we
apply to others, and the potential consequences of black and white thinking. The show puts forward some tough questions:
who benefits from media scapegoating, and to what ends? To what extent does rhetoric play a role in
the identification of ‘threats,’ and what are the dangers of being too ready to draw
lines between ‘self’ and ‘other’? And, in a world where categories as basic
as ‘good’ and ‘evil’ are the product of manipulation and deliberate construction,
what is the right thing to do? As Miko, in her blended human/Devilman form
puts it: What does it mean to be a human? What does it mean to be good? If you're gonna die, hurry up and die! What is justice? What is right? And as always, peace.

Violence & Metaphysics: The Philosophy of Devilman Crybaby – Wisecrack Edition

Wisecrack

Devilman Crybaby explores deep themes like metaphysics, media, and international relations.

The story follows Akira, who gains the power of a devil but retains his human heart, and his friend Ryo, who ultimately reveals himself to be Satan and triggers an apocalyptic battle.

The show's intense and violent plot is a stark contrast to its profound exploration of complex philosophical ideas.

The Impact of Moral Panics and Threat Construction

Mass media creates moral panics, portraying certain groups as deviant and a threat, justifying social control over them.

"Devilman Crybaby" depicts how the media's false labeling leads to violence and discrimination against the targeted individuals.

The show also illustrates the concept of threat construction, where powerful figures define an 'other' as a danger, not only physically but also to the society's identity.

Ryo in the series uses the media to spread fear and paranoia, expanding the definition of 'devils' to anyone deviating from the social norm, thus justifying violence against them.

The Role of Threat Construction and Dualist Metaphysics in Devilman Crybaby

Political scientist David Campbell's theory of threat construction is exemplified by Ryo's manipulation of US foreign policy to start WWIII in Devilman Crybaby.

The show explores the danger of creating artificial boundaries between groups, as well as the concept of Dualist metaphysics, which presents reality as a battle between irreconcilable forces.

Devilman Crybaby also portrays unresolved binary oppositions, such as the contrast between Ryo and Akira, adding depth to its exploration of these philosophical concepts.

The Evolution of Dualistic Concepts in Devilman Crybaby

Devils are initially portrayed as lacking human emotions, engaging in a literal battle between good and evil.

However, the show later challenges this dualistic view, revealing the complexity of reality and blurring the lines between good and evil.

The protagonist, Akira, embodies this challenge by combining both devil and human nature, defying simplistic categorizations.

Gender and Devil Dichotomies in Devilman Crybaby

The show explores ambiguous queer relationships and the display of emotions by the male protagonist, Akira.

It also blurs the lines between devils and humans, challenging the socially constructed dichotomy between them.

The series provides evidence of devils' capability to feel love, contrary to the claim that they are emotionless.

The Impact of Relationships in Devilman Crybaby

Satan's sacrifice and grief over Akira's death show a significant evolution in his character.

The show challenges the audience to reconsider labels and the consequences of black and white thinking.

Devilman Crybaby raises tough questions about media scapegoating, the identification of threats, and the manipulation of good and evil concepts.