Amon: Devilman < 2025-2026 >

Kinutani’s art is the star here. Moving away from Nagai’s blocky dynamism, Amon embraces a 90s “extreme” aesthetic: hyper-detailed muscle fibers, spattered inks, and double-page spreads of demonic anatomy that feel like H.R. Giger meeting a slasher film. Amon’s design is less a heroic fusion and more a biological weapon—jagged, asymmetrical, with a mouth that unhinges like a serpent. In the original, Miki is the light. Her death is the turning point. In Amon , she becomes the story’s true protagonist and its most tragic figure. She spends the volume journeying across hell on earth, not to fight, but to talk . She endures psychological assaults, demonic temptations, and the sight of her beloved’s face twisted into a perpetual snarl.

When Miki finds the creature, it is not Akira in anguish. It is —pure, unfiltered demonic id. Amon remembers Akira’s hatred of evil, but without Akira’s humanity, that hatred becomes omnicidal. He does not fight out of love; he fights out of a predator’s instinct. The result is some of the most graphically violent artwork in the Devilman lineage—bodies are not just killed but unmade , torn into ribbons of viscera with a cold, reptilian efficiency. amon: devilman

Amon sits atop a mountain of skulls, staring at a blood-red sky. He does not laugh. He does not mourn. He simply waits for the next thing to kill. Akira Fudo is not inside anymore. There is only the dark side. Kinutani’s art is the star here