The title is The Apocalypse of Devilman , not of the World . While demons are attacking Earth, the true apocalypse here is the death of Akira Fudo’s soul. The external chaos mirrors the internal disintegration. It’s a deeply personal, psychological apocalypse, making it far more devastating than any giant monster attack. Animation and Direction: A Masterclass in Body Horror Amon is not a film for the squeamish. The violence is constant, graphic, and deeply tactile. Limbs are torn off with sinew audibly snapping. Blood sprays in impossible geysers. Demons are designed with a horrifying biological realism—they look like cancerous, chitinous fusions of human and insectoid features.
Amon: The Apocalypse of Devilman , directed by Umanosuke Iida (who worked on The Birth ) and written by Go Nagai himself alongside Akinori Endo, picks up immediately where the first OVA left off. The animation studio was Oh! Production, with character design and animation direction by the legendary Yoshihiko Umakoshi (later known for Casshern Sins and My Hero Academia ). Umakoshi’s work here is raw, muscular, and grotesquely beautiful—a perfect marriage of Nagai’s crude, expressive style and high-fidelity anime detail.
The demon Amon —the original, unbroken personality of the demon Akira hosts—begins to reawaken. Akira’s body mutates, not into the controlled Devilman, but into the hulking, bestial form of the ancient warrior Amon. His eyes lose all human recognition. His friends, Miki and Miko, look on in horror as the monster that once served Akira becomes the master. amon - the apocalypse of devilman
Ryo Asuka is a tragic figure in the manga, but in Amon , his callousness is on full display. He treats Akira’s disintegration as a scientific data point. He created Devilman, and now he watches his creation self-destruct. The OVA hints at Ryo’s true nature (Satan) but doesn’t fully reveal it, making him seem less like a fallen angel and more like a detached, monstrous god playing with pawns.
In fact, director Masaaki Yuasa’s Devilman Crybaby pays clear homage to Amon , particularly in its final episodes where Akira loses control and the world descends into a similar red-hazed, limb-strewn chaos. However, Yuasa’s version retains a sliver of melancholic humanity, while Amon remains resolutely, terrifyingly empty. Amon: The Apocalypse of Devilman is not an easy watch. It is a film that hates its protagonist, despises the idea of a happy ending, and wallows in the grotesque. But that is precisely its power. It is the most faithful adaptation of Go Nagai’s core thesis: that humanity is fragile, that the monster within is always waiting, and that in the war between angels and demons, humans are nothing but casualties. The title is The Apocalypse of Devilman , not of the World
We then join Akira Fudo, who has merged with the demon Amon to fight for humanity. But the psychological toll has been immense. Ryo Asuka (Satan in human form) has been pushing Akira relentlessly, turning him into a weapon. The OVA’s central conflict ignites when the demon psycho-jenny, a parasitic creature that feeds on fear, attacks. In the process of fighting it, Akira’s human psyche finally shatters.
Commercially, it underperformed compared to The Birth , likely due to its relentless grimness and the fact that it ends on a cliffhanger that was never resolved. (A third OVA adapting the apocalyptic finale of the manga was planned but never made.) Limbs are torn off with sinew audibly snapping
In the vast, bloody tapestry of dark fantasy and horror anime, few works have cast as long a shadow as Go Nagai’s 1972 manga, Devilman . Its exploration of a reluctant demon-human hybrid, the nature of evil, and an apocalyptic ending where Satan himself wins remains shocking even today. However, the original 1972 TV anime was a neutered, children’s version of the source material. It wasn’t until the 1987 OVA Devilman: The Birth and its 1990 sequel, Amon: The Apocalypse of Devilman , that Nagai’s violent, nihilistic vision was finally rendered in animated form.
The second half of the OVA is less a narrative and more a descent into a shared nightmare. Amon rampages, killing demons and humans alike. Ryo watches with a mixture of fascination and cold calculation. The climax is not a heroic battle but a brutal, primal clash between Amon and the demon general Kaim—the very demon who originally dismembered him. Their fight is a cataclysmic orgy of blood, severed limbs, and earth-shattering force, rendered with sickening detail.
In the end, Akira’s human consciousness briefly resurfaces, horrified by the carnage his body has wrought. He begs Miki to run. But the final scene offers no hope. Akira’s face transforms one last time into Amon’s snarling visage, and the OVA ends with the narrator’s grim words: “The apocalypse of the devil man has begun.” 1. The Illusion of Control: The Birth ended with Akira believing he could use Amon’s power for good. Amon brutally deconstructs this idea. The OVA argues that there is no compromise with a primal force of chaos. The moment Akira merges with Amon, his human identity is on borrowed time. The film asks: Can you truly weaponize hatred and violence for love and protection? Its answer is a resounding, bloody no .