Embedded Files
The epitome of evil in Judo-Christian teachings, devils and demons are powerful monsters that have long persisted in various forms throughout various pieces of media. However, as time has passed, there has been a noticeable change throughout the various manifestations of demons and devils, with these monsters appearing and being characterized in different ways to speak to their respective contemporary audiences. While one of the functions of demons and devils has stayed the same, to serve as points of reflection for humanity—being reminders of our existence and serving as important life lessons on power and its consequences—we put forward that this function has shifted from being an external reassurance, with demon’s being rooted in previous prevalent religious belief, to an internal one, where demons now gain their power from the humans they reflect. We argue that demons have transformed over time to function as an intimate and nuanced point of reflection for the modern audience that views them, changing to adapt to wider societal conditions, with a decrease in religiosity and a rise of technology advancement and an increase in people’s belief in humanity’s ability to enact progress.
Comparing Sweeney Todd the Demon Barber of Fleet Street (2023), Jennifer's Body (2009), and The Exorcist (1973), allows us to see the progression of how demons and devils are portrayed in media throughout time. Around the time The Exorcist was made, most portrayals of demons are through a religious context. In 1971, 90% of Americans identified with a Christian religion, which dropped to 61% in 2021 (Gallup 2021). This statistic reflects the shift of how demons and devils are depicted in media. The Exorcist is about a little girl possessed by a devil which requires two Catholic priests to save her, reflecting the religious fear at the time. Jumping to Jennifer's Body, a demon has yet again possessed another girl, this time the devil using Jennifer as a vessel to lure and kill teenage boys to help gain power. This still has the elements of religious fear that The Exorcist had, but veers into different territory when it starts to demonize a real person. This comes in full force in Sweeney Todd, as there is no actual demon or devil present in this production. Instead of being a supernatural entity, the "demon" in this story is a real person. This reflects the decrease of religion in society and also societies desire to demonize real people. In today's society, I think it is more common to be scared of demonic people than religious entities. The fear of demons has survived through time by shifting focus to what humans are truly scared of: themselves.
There seems to be a common theme among Asuramaru, Mr. Applegate and Jeong Gu-won, which is the idea that nothing good comes free. Another way to see this is a “give and take” scenario. If the demons were to only give, then there would be an imbalance with the people in the world and nature; moreover, it disrupts the balance and harmony. With these demons/devils, they can be seen as individuals they bend the rules of reality to create, but in return they must collect something. In Seraph of the End, Asuramaru is trapped in a sword that Yuichiro wields to slay vampires. Asuramaru gives the sword and the host enough power to deal superhuman damage to whoever gets touched by the blade. In return, Asuamaru feeds off of the host, sometimes driving them insane so he can take over the body. Similarly in Damn Yankees, Mr. Applegate was able to turn Joe Boyd into a baseball player for his favorite team, the Washington Senators, but of course, it came at a price. Joe had to leave his wife Meg in order to live his dream, so one could argue that Joe had to give up his marriage in order to fulfill his wish. Lastly, in My Demon, Jeong Gu-won appears before desperate individuals, and answers their wishes and desires. He can make someone successful, rich, or popular, but he cannot bring someone back to life. In return, the person has 10 years left to live and once their time is up, they die a “natural death” in the moment and their soul gets sent to hell. As we grow closer to the present and near future, it is safe to say that demons/devils are seen as something beyond religion. In this case, demons/devils are seen as a message and reminder that everything comes at a price.
The Judge
In these instances, demons and devils are embodying different forms of life lessons, serving as a reminder of the reality of our lives and prompting us to take heed of the choices we make and the consequences they entail; however it also embodies a strengthening in the connection between demons and man. In the last century we see a prominent progression in the depiction of demons as being more intimately connected to humanity, beginning to take on a more nuanced light. In Buffy the Vampire Slayer, The Judge, a recently revived demon from the middle ages, serves as a direct representation of the past. Ultimately defeated through the usage of modern weaponry, The Judge serves as a link between history and modernity, forcing Buffy to confront her own past of who she was and who she is when she faces him. Instead of demons being seen as wholly separate from humans, we see their development into characters that are deeply intertwined with mankind, that not only abstractly represent life lessons people must learn, but serve as a point of reflection of ourselves.
As this connection grows, often the portrayal of the demon also becomes more humanized as seen in Hellboy. While Hellboy retains the classic physical characteristics of a demon—red skin, tail, horns—this is heavily contrasted by the human way he acts, dresses, and speaks, working alongside humans and actively filling down his horns to not stand out further. His personality reflects this humanization as instead of being traditionally portrayed as a malevolent figure of absolute evil, he is shown to be multifaceted and nuanced, being capable of choosing to do evil, as he is destined to, or to accomplish good. This is further explored in Dr. Faustus where Mephistophilis is dressed to mimic the ambitious doctor that has sold his soul to him, without any demonic features other than his magic. The play draws an intentional duality between the doctor and the devil, with Mephistophilis only enhancing and influencing the unrestrained and indulgent traits that were already present in Dr. Faustus from the start.
Demons stem from various religious ideologies but in a time period where the religiosity of the masses has diminished, this figure has transformed from taking its power from the belief humans had in it, to now taking power from something tangible in modern humanity—humanity itself, weather that be in our past or in who we are, by humanizing demons and showing them to be a reflection of the humans they torment, demons and devils in the modern era function to tell us more about ourselves in the process.
Hellboy
Dr. Faustus Mephistophilis
Dr. Faustus Mephistophilis
When comparing the films, Insidious (2010), The Nun (2018) and the broadway play Demons. (2023), we see that each demon shares a common theme. In both films and in the play, we see that each demon carries a desire to succeed in furthering their own agenda. Sixtass (Insidious) likes to trick children by luring them and making them follow him into a dark and empty realm called “The Further”. From there he uses their innocence to overpower and possess their body’s, so that he can enter the real world and complete his goal of inflicting pain and death onto humans. Valak (The Nun), on the other hand, has a more complicated goal. Although his overall goal is to have divine power, he tends to allow his other goals, such as getting revenge on the Warrens, Saint Lucy’s descendants, God and his disciples to overlap. To fulfill all his goals, Valak uses his power of possession, shapeshifting and telepathy to terrorize his enemies. As for Danily (Demons.), his main objective is to simply create an even bigger conflict. He does this by lurking in the shadows and forming alliances so that he strategically outsmart his enemies. Looking at each demon side by side, shows us that no matter what world or realm that they are from they each strive to achieve their own goals. I also think that part of the reason we humans see demons and devils with this negative connotation is because unlike them most of us are afraid to get our hands bloody. Unlike demons who are willing to hurt and even kill those who are in their way, us humans typically won’t go that far.
In the three forms of monsters I chose portrays the juxtaposition and silver lining between demons and humans over time. We have Richard III Duke of Gloucester who is one of Shakespeare’s greatest monsters/villains. Through the live production of Richard III with Katy Sullivan portrays the modern take on the cruel ruling of Richard III. Aside from the greed and power qualities, Edward Hall puts a twist on the original and implements the feelings and emotions that Richard III experiences given that she has a disability in the play. In Beetlejuice The Musical, Beetlejuice is a well known demon who successfully scares the living. As he is hired to push the Deetz family out of the Maitland’s former house, his success in being able to easily scare away the living is challenged. Through the trials and tribulations of the play, Beetlejuice is finally presented with what he always wanted; the feeling of connection and acceptance that he receives from Lydia Deetz. In the show Lucifer by Tom Kapinos, Lucifer Morningstar leaves Hell and moves to Los Angeles, where he opens up a nightclub, Lux. Throughout the show, Lucifer is fighting crime and excessively partying which is the contrary of turning humans into demons and bringing them into the underworld. From an introspective aspect, Lucifer faces redemption, self identity, and his past. Over the course of the genealogy of demons, we can see that demons and humans share common traits. Despite demons being supernatural and from the underworld, they still experience emotions of vulnerability, loneliness, redemption, anger, and misunderstanding that us humans feel as well. Along with the highs one experiences in life, what keeps one balanced is the lows we experience.
I decided to highlight an interesting recent trend in how demons and devils are portrayed within the series I enjoy watching. The examples I chose to write about bring the portrayal of demons to have attractive qualities to them, and attempt to have the viewers connect to the demons as characters. Little Shop of Horrors (1982) playwright, Howard Ashman, decided to design a demon that was cute so that people would be more shocked when the horrible actions it took happened. Around the time, he felt like media was too dark, not light heardted enough, and decided to make that the concept of Little Shop of Horrors. In seasons 1-2 of Michael Schur's "The Good Place" (2016) Michael is a demon architect of Hell. He is tasked with creating a perfect torture system for people in the afterlife that targets their worst fears and insecurities, but also makes them believe they are in heaven. Michael is a truly evil demon, however throughout the show he is swayed by the Humans and is inspired to start learning from them and working to remedy his evil actions. Last, I decided to highlight the main antagonist of Tatsuki Fujimoto's Chainsaw Man 1 (2018), Makima. In this series, devils are manifestations of people's fears. Makima is the control devil, just like the gun devil is the devil of.... yknow. Makima is an interesting character because we get to see a lot of her internal dialogue throughout the series. Her main goal is similar to Michael's by the end of his show, but instead of wanting to experience human things because he wants to gain empathy for them, she wants to feel human things so she can live a somewhat normal life. Her motivations are selfish because she feels like she also needs to have control over everything in her life.
The Devil wears Prada (metaphorically), Prada is an iconic fashion brand that typifies modern, human, capitalist, consumption. As an ancient inhuman being, why would the Devil ever wear it? The answer combines the transformation of the devil into both human fears and human forms as my colleagues have articulated in previous paragraphs. The play, The Dybbuk, by S.A. Ansky, the devil spirit or Dybbuk, wears a variation of modern “Prada,” the human form. In the play, the Dybbuk possesses the girl whom he loved in life, giving human emotions and then a human body to the inhuman spirit. As The Dybbuk makes evident, the Devil does not purely hate humanity, it is obsessed with us too, enough to take the form and mind of people. More modern productions have continued this theme of possession, both by the Devil and of them. Crowley in Good Omens embodies this obsession, drinking fine wine, wearing the latest fashion, and listening to soul music. His attachment to humanity even causes him to botch his most important mission as a devil, raising the world ending anti-Christ to grow up to be evil. According to Crowley, “upbringing isn’t everything.” Crowley, like the Dybbuk, becomes so obsessed by humanity that he gets possessed by human morality, overriding his devilish nature. Crowley literally wears Prada, and in a way, the capitalist, human, system that creates the iconic clothing wears him and changes his nature. Finally, the animated tv series, Hazbin Hotel, shows demons possessed by humans in a different light. Human desires; for vengeance, greed, and lust, are the problems in Hell that the Hazbin Hotel is trying to cure in an attempt at redemption. At first, many of the characters, like Lucifer Morningstar, are tropes for our worst impulses. Lucifer is a deadbeat dad, afraid of the connection and confrontation that comes with being a father. According to some, the Devil and those he oversees in Hell are unredeemable. However, throughout the season he becomes less of a trope and more of a full human (or demonic) being, having important moments of redemption. If devils can be possessed by human vanity enough to wear brands like Prada, I believe that they can be possessed by positive human qualities too. Good Omens and Hazbin Hotel are two productions that bring this reality to light, and bring our research paper full pentagram.
The Dybbuk
Crowley
Lucifer
When looking at the different manifestations of demons and devils in media, we observed their transition from figures ensconced and sustained through people’s religious belief to creatures that now gain their power through the relationship they have to humanity. Instead of being depicted as being evil creatures that are entirely separate from humanity, demons begin to slowly intertwine with the humans they interacted with, with demons becoming more human and humans becoming more demonic. As we have shown, this corresponds to a changing, less religious demographic, where demons gaining their power through the audience’s belief in the supernatural was no longer as tangible as it had previously been, and instead, in an growing era of technology and belief in humanity’s ability to advance forward, demons correspondingly began to take their power from something more tangible to a modern audience base, which was their ties to humanity. Through an examination of several demons, we were able to show how these figures now reflected and adapted human-like qualities, whether this be in appearance, motivations, familial struggles, more nuanced benevolence, or portrayals of malevolence. The humanistic approach to these depictions functioned to bring demons closer to the human audience that perceives them, providing a more intrinsic and internal entrance point for the viewer to examine the traits and emotions within themselves and their own lives that they see paralleled in demons in front of them.
Works Cited
Works Cited
Mia's Sources:
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Sean's Sources:
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