“私はあくまで人間ですから:” A Character Analysis of Sebastian Michaelis

Submitted by singacrossthemoon

Another paper written for class: a character analysis of Sebastian. No plagiarizing, please~

Thesis: Youkai have always acted as personifications of anxiety and societal fear in Japan, but in today’s modern world, they often wear the face of pretty men. This paper is a case study of one such demon, Kuroshitsuji’s Sebastian Michaelis, and how he has been affected by this “humanization movement,” mainly through that most human of emotions, love.

私はあくまで人間ですから
(“Watashi wa Akumade Ningen Desu Kara”)

And then Ciel asked, “What makes a demon?” He meant how demons were created, but—

“What classifies a human?” was the question shot back at him.

Humans aren’t evil like you are, Ciel was about to say, but then he remembered the screams and chains and masks with no eyes, the smell of burning skin and painpainpain – he blanched.

Sebastian chuckled. “Really, are we that different from each other?”

-“Indefinite,” Clicio

It does not seem particularly strange that manga frequently contains depictions of youkai and demons; such images have permeated the work of Japanese artists and storytellers throughout the history of the Yamato nation. Hokusai, the man responsible for the term “manga,” first used the word to describe his sketchbooks full of monster-images (Hollstein). In light of this, the continuing trend seems only natural. Of greater interest is the evolution of these once-frightening creatures, and how they are often portrayed in popular culture today. Indeed, tengu like Haruka from the series Tactics were not what the government had in mind when they sent official edicts to the tengu of the mountains (Higashiyama; Fister 110-111). In light of the audience to whom many mangka target (that is to say, girls and young women) it is not wholly surprising that a good number of today’s monsters look far more like “bishionen” than their ancient counterparts. What is surprising, however, is the extent to which this “demon humanization” movement has progressed. The demons do not only look human— oftentimes, they wish to become human, like Hyoue from the series Jousama no Inu (Takeuchi). More fascinating still is the case of Neuro from Majin Tantei Nougami Neuro, who becomes progressive more mortal the longer he stays in the human realm (Matsui). Even still, both of these characters retain a great deal of their true nature, be it physically or psychologically; Hyoue often reverts to his true “koma-oni” form, and Neuro, even at his weakest, maintains the heart (and sadistic-streak) of a true demon. While Hyoue and Neuro remain fascinating characters in their own right, it is Sebastian from Toboso Yana’s Kuroshitsuji who, I feel, best epitomizes the humanization movement. To what point does his humanity extend? Where does one draw the line between man and monster? His favorite pun (“watashi wa akumade shitsuji desu kara”/“I am a devil of a butler/I am a devil and a butler”) suggests that Sebastian perceives himself as two separate beings, one “human(oid)” and the other “devil.” Should the audience accept this distinct duality, or should they instead believe in the gray area that his pun (perhaps unintentionally) implies? Further investigation into his character may provide an answer.

    Set in a steampunk-styled Victorian England, Kuroshitsuji tells the story of the young Earl Ciel Phantomhive, who, at the age of 10, is kidnapped by occultists. His parents killed by his abductors and he himself subjected to a month of torture in captivity, Ciel concludes that God must have abandoned him, and thus chooses to forsake Him in turn. While perhaps wrong to call this a “fortuitous” turn of events, it does play out in Ciel’s favor; the occultists use Ciel as a sacrifice in a demon summoning, but rather than submit to the will of said occultists, the devil called forth instead takes an interest in the boy on the altar. Ciel agrees to the Contract the creature offers, and in exchange for the chance to extract vengeance upon the mastermind behind his humiliation, he promises the devil his soul. He gives the devil (“akuma”) in question a name (“Sebastian Michaelis”), and charges Sebastian to work in his manor as a butler until his revenge is complete. In the canon, three years have since passed, but still the mystery remains.

    Ciel’s command— “act as my butler”— is the first, and arguably most superficial, layer of Sebastian’s humanity. For indeed, his butlery guise is that of a human. He appears as an impeccably dressed, attractive young man in his early to mid-twenties with dark hair, dark eyes, and pale skin. Yet, while he states in episode 24 of the anime’s first season that “I am a butler. I cannot allow my master to see the form that speaks badly of that reputation,” there are instances that the audience (and Ciel) are allowed glimpses of Sebastian’s demonic self (Toshiya). More often than not, these glimpses are shots of his eyes, which fade from doe-brown to a vibrant vermillion with cat-slit pupils. There have also been moments, most notably in the anime’s second season, where an otherworldly miasma will affix itself to Sebastian’s shadow, but those moments are witnessed only by other supernatural beings, beings for whom the maintenance of Sebastian’s butler persona is not quite as important (Ogura). However, it is interesting to note that even the “form that speaks badly of Sebastian’s reputation,” (that is to say, his true form) is apparently much like his current appearance. Although a full-body image does not exist in any canonical medium (1), what images the audience has been privilege to— pin-heeled boots; leather-covered legs; a taloned hand; a head and hairstyle that look markedly familiar— are all suggestive of a humanoid figure… albeit a humanoid figure half-obscured by storms of magical black feathers.

    Sebastian, while bound to Ciel via unholy covenant, is compelled to obey every demand that his master utters. While he does extract a great deal of pleasure in finding loopholes in his charges (as a good devil should), he is just as skilled at following his orders to the letter. This does create a bit of a problem, however, as he is simultaneously expected to “act as a [human] butler” and to be able to perform amazing feats that would be impossible for mortals. For example, surviving a barrage of bullets (chapter 4, 31, 23-29). Disregarding the frequent usage of his favorite pun, it is Sebastian’s inhuman abilities that often serve as the only reminder of what he is. His second favorite phrase (“As a butler of Phantomhive, it is only natural that I should be able to [insert any number of impossible tasks here]”) is an homage to the original order (“act as my [human] butler”) and is often used to explain away his talents in both the anime and manga. Just as he is physically, Sebastian is also mentally faster than mortals; another of his skills lies in figuring things out before Ciel, as well as keeping a few metaphorical steps ahead of all of the other humans in his life. In light of both his previously-discussed appearance and soon-to-be-discussed psychology, these abilities are arguably the only things that truly set Sebastian apart from mortals. Yet, in spite of this, it is also implied that Sebastian is not all-knowing; in both the character guide and episode 12 of season two, it is mentioned that Sebastian was not very good at his job as a butler, back when he first began (Toboso 16; Ogura). This implies that he, like humans, occasionally needs to be taught. The first chapter of the manga also suggests that Sebastian has no access to a universal sort of knowledge; like a human, he must find things on his own. Upon realizing that he suddenly needs to know a great deal about traditional Japanese culture, the demon speedily reads through all of the books that the manor has to offer on the subject, leaving the study a mess in his wake (26). 

    Still, it is not Sebastian’s physicality or capabilities— mental or otherwise— that most fans consider when discussing the character’s potential humanity. Rather, it is “the inside that counts,” as many would tritely phrase it; whether or not Sebastian experiences emotion is an ever-escalating debate in the Kuroshitsuji fandom. Certainly he is well-acquainted with the feeling of irritation, as Ciel’s other servants are not particularly good at what they do, and Sebastian is often left to clean up their messes. This is made plain in chapter five of the manga—as of now, the only instance in any canon in which we’ve seen the world through Sebastian’s eyes— where he internally rages about the stupidity of those around him, even as he wears an expression of calmness (9-24). If his smiles, chuckles, and jokes (both sadistic and genuine) are anything to go by, he also understands the concept of humor, which is an emotion used in many other mediums to separate humans from non-humans: for example, movies like “Short Circuit” and “I, Robot.” However, Sebastian is a devil, not a machine; in cases when one must differentiate between a man and a monster, the distinguishing emotion tends not to be amusement, but rather affection. While the fandom as a whole seems to be in agreement that anime, manga, and musical Sebastian can be as viciously cruel as his true nature would suggest, it is his ability (or, as argued by some, inability) to love that sets the canons apart, according to both the fans and Toboso Yana. She has made frequent claims that the anime Sebastian is far kinder than the one she draws, just like the anime Ciel is “cuter” (Toboso). I do not entirely disagree with this statement, but then, neither do I entirely agree; while the Sebastian she writes about in each month’s new chapter is certainly a bit colder, he does not act nearly as callously as her blogs or character book would suggest. Her claims are further nullified by the fact that many “soft Sebastian” moments (in both the anime and musical) were written by Toboso-sensei herself. Even still, as there is a decided difference between the three Sebastians—and it is these differences that the fans argue over, when it comes to Sebastian’s character and his general humanization—, I shall examine the three as separate entities for this section. For the sake of simplicity, and because it is the most important relationship in the series, the general point of focus shall be Sebastian’s feelings (or lack thereof) for his master, Ciel. Their bond is, for most, the driving force of the series; the underlying (sexual) tension and, arguably, the begrudging affection between the two is a large selling point of the franchise and the characters. That said, Sebastian’s fondness for cats cannot be ignored, either.   

    As it is written by the characters’ creator, the manga is often seen as the “most canon” rendition of the series. Toboso-sensei’s Sebastian, in her own words, is “a nasty guy” who feels no loyalty towards anything or anyone; his actions are entirely guided by his two “aesthetic principles:” his butler aesthetics (obeying orders) and his demon aesthetics (properly fulfilling the Contract) (Toboso 7, 8). In the “character interview session” of the manga character guide, he is portrayed as flippant and curt, going so far as to say that he desires “nothing” when asked what he wants most (17). This confused a number of fans, as it has been stated in the manga proper that Sebastian is, quite literally, starving at this point; one would think that he would at least mention wanting to eat (chapter 26, 28). Indeed, in other scenes written by Toboso-sensei (most notably, the finale of the second musical), Sebastian states explicitly that all he wants in the world is Ciel’s soul. As the Kuroshitsuji character guide, like most characters guides, offers a very simplified view of both the series’ universe and the characters therein, it is perhaps unsurprising that the actions of the characters in the series sometimes seems to contradict the descriptions offered in the guide. For instance, the character guide suggests that Sebastian does nothing that is not directly asked of him, exemplified by his delight in finding loopholes or other ways to undermine orders given to him (8). Yet, if he only does as charged, then why is the manga filled with images of Sebastian doing things that he is not asked to? In chapter two, he fixes Ciel’s prized ring without being ordered to do so; in fact, Ciel had previously thrown the shattered band out the window (39-40, 32). There is also an instance when Sebastian is seen covering Ciel’s ears so as to keep him from hearing a dirty joke; later, Sebastian covers Ciel’s eyes to block out the image of a murdered prostitute (chapter 6, 10; chapter 9, 12). While some fans contend that Sebastian is trying to protect the soul he wishes to consume from further “damage,” considering all that Ciel has already been through, hearing one raunchy joke or seeing one more corpse isn’t likely to push him over the edge. Also, as there is later discussion about turmoil-ridden souls being more delicious, Sebastian’s concern seems out of place for a supposedly “uncaring being.” More telling still is chapter 28 and the events that transpire there. Undercover at a circus, Sebastian had been charged to let loose a barrage of poisonous snakes at a certain time, so as to serve as a distraction. As is his wont, Sebastian does as commanded, despite knowing that Ciel is still in the vicinity. In response to Ciel’s anger, Sebastian chides the boy for being careless with his orders; the demon is all smirks and sneers and snickers until, a mere 4 pages later, Ciel spews vomit and collapses from a severe asthma attack (12-16). Sebastian, to put it colloquially, “freaks out.” His panic in that moment is not an act, for there is no one around to act for; it is authentic, and there is really no reason for it, unless he does feel something, to some degree, for his master.

    As the above examples would suggest, most evidence of Sebastian’s affection comes not from doing as told, but from doing things that he does not particularly need to. There are other instances of this in the manga, besides the almost “spur of the moment slips” aforementioned. In chapter 14, Sebastian makes a birthday cake for Ciel, even though Ciel himself does not remember that it is his birthday. This scene is poignantly revisited during a voice actor event set after the ending of season one.(2) In the scene, Sebastian brings a birthday cake he’d made to the ruins of the Phantomhive manor, all the while wondering aloud why he’s bothered to do so. Then he laments how, in the wake of Ciel’s death, time passes so slowly, because “he is a demon and alone” (“watashi wa akumade hitori desu kara”). Leaving a ruined cake in his wake, he walks miserably into a snowstorm and disappears (Red Valentine’s Day Event).

    As suggested earlier, Sebastian has a certain fondness for cats. In chapter 5, he internally monologues about how wonderful cats are, and Toboso-sensei herself has called the black cat that Sebastian (secretly) keeps in the manor garden his “precious girlfriend” (21-23). Chapter 49 contains a rather amusing scene in which Sebastian rescues a number of cats from the rain, and then stuffs them in his closet to keep them safe and dry (17-18). This is definitely something that he does not have to do— in fact, taking Ciel’s severe allergies into account, it’s something that his master would prefer he didn’t do. Thus, Sebastian’s actions can be attributed only to affection. As a result of this, fans oftentimes draw parallels between Ciel and Sebastian’s cats; not only because Ciel usually acts as haughty as a kitten, but because in chapter 5 Sebastian mentally compares Ciel’s cheek to a cat’s paw, complete with shoujo-manga-styled sparkles.  Coming from Sebastian, this is infinitely high praise. To further compliment these soft feelings (as well as apparent fondness), just-prior to the glitter-filled cat-comparison, Sebastian is seen smiling gently at Ciel as he muses on how “I don’t think this is a bad way of life” (31).

    The anime, while an original adaptation of the manga, offers a number of similar scenes. Sebastian fixes Ciel’s ring, covers his eyes and ears, and obsesses over cats just as he does in the comic. However, there are additional sequences that add to the idea of this Sebastian being “kinder.” In episode 18 of the first season, he praises Ciel by saying “[…] as expected of my soul. No, as expected of my young master,” implying that he does not merely see the boy as a meal (Toshiya). The season’s finale, in particular, is full of tenderness from both parties, but is particularly expressed by Sebastian. To try and discuss the entirety of the episode here would be both an insult and a detriment; a full analysis of the episode and what it says about Sebastian and Ciel’s relationship can be read in other papers. (3) Even still, it merits mention that, post-death, Sebastian shows Ciel far more compassion than one would expect. Rather than greedily consume his master’s soul, the demon consoles, caresses, and promises to be gentle (Toshiya). As their Contract is, at this time, complete, Sebastian is not required to be anything but his most-demonic self; thus, the conscious choice to act so humanely says a great deal about his psychology.

    The show’s second season does even more in perpetuating the link between man and monster, as well as blurring the lines between them. In season two, Ciel is returned to life as a result of another demon’s games; this demon, Claude, and Sebastian wind up fighting over the rights to Ciel’s soul. In the course of this, the audience is privileged to a Sebastian who is more human than ever before: a Sebastian who has learnt jealousy. He often refers to Ciel as “my young master” (“watashi no bocchan”), takes it upon himself to stalk Ciel (even after the boy has ordered him away), and when it looks as if he won’t be able to serve as Ciel’s butler anymore, his expression crumples into something pitiable and heartbreaking (Ogura). In a somewhat surprising twist, however, the audience learns more about Sebastian and the emotional capabilities of devils not from Sebastian himself, but from a third demon named Hannah. Once again, one of the biggest questions in the fandom is whether or not devils can feel emotions, most specifically love; at the end of the season, Hannah professes her affection for both her previous and current master, going so far as to use the word “love” when describing the sensation (Ogura). Thus, it can be assumed that other demons—at least those of similar power and aptitude, like Sebastian—are equally capable of experiencing such emotions.

    This isn’t the only time a demon uses the word “love” (“ai”) in the Kuroshitsuji series. Though seen as a canon entirely distinct from both the anime and manga (due in great part to the characters’ tendencies to burst into song and dance numbers), the musicals offer a third version of Sebastian to consider. This Sebastian, too, displays human tendencies and characteristics that go beyond the fact that he is being played on stage by a young man. Disregarding the obvious physical limitations that speak of mortality (Matsushita Yuya is talented, but he is, in the end, only human), the musical Sebastian’s songs are full of very human emotions, as well as (one could argue) touching confessions. In his opening number in the first musical, Sebastian’s song “Yes, My Lord,” contains the line “my body and heart are dedicated to you” (“kono karada mo kono kokoro mo sasageta”) which he, of course, sings directly to Ciel (Fukuyama). More telling still is the finale of the second musical, in which Sebastian serenades his sleeping master. The lyrics discuss humanity’s plight, as well as Sebastian’s relationship with Ciel. At first glance, the two refrains seem fairly sexual, though they could also be referring to  what will happen once Sebastian’s end of their bargain has been fulfilled and he is allowed to eat Ciel’s soul. Regardless, the moving melody speaks of something more, and with Sebastian’s hand over his heart, it is hard not to imagine what else he may be thinking about as he sings:

“Lips touch and then peel away
That is the dream, and is always the dream
Like a wave, able to embrace you
I can hear the sound of fate crumbling away
Fingers intertwine and stray
Is that a sin? Or a trap?
Where there was ice, now feelings flame
It begins to melt, it begins to blaze, and my eyes close”(4) [Emphasis added]

Furthermore, in the released single of this particular song, there is an additional verse where Sebastian sings about how he is not unhappy with his current way of life, despite the hardships of it. This is very much reminiscent of chapter 5 of the manga (Fukuyama). It stands to follow, as Toboso-sensei had a hand in helping with the musical, too; she crafted a scene in which Sebastian and Ciel seemingly flirt (Ciel meows like a cat for his butler), as well as the monologue in which Sebastian tells the slumbering Ciel that he wants only him (Fukuyama). 

    In the face of all of this evidence, the conclusion seems fairly obvious: Sebastian, in all three canons, is capable of feeling affection. Whether it be for his master or for his cats, he knows how to love in some capacity, making him all the more “human.” It does merit saying that there is an irony to this; Sebastian’s “humanization” seems to coincide with the demonization of Ciel, both in the anime—where Ciel physically becomes a devil—and in the manga, where, in the aftermath of a gruesome murder, a character named Arthur says that Ciel looks “like he was simply enjoying a game, like an imp that had branched from a demon” (chapter 43, 30). It may be that Sebastian and Ciel’s soul-bond via Contract is to blame for this; perhaps they are bleeding into one another. Or, perhaps, it is meant to suggest that demons and humans aren’t quite so different after all.

    “What makes a demon?” “What classifies a human?” The line between the two seems hazy at best, at least in the realm of Kuroshitsuji. It stands to follow, as any creation of the human mind is inevitably imbued with a bit of that human’s psyche. In light of this, it is my opinion that it is next to impossible for a human to create a well-rounded “monster” character that is not, at least in some way, human-esque. That said, I do not think that truth subtracts from the terror inspired by these supernatural creatures; in Japan, youkai are used as a way of expressing fears (Hollstien). Isn’t humanity the scariest thing of all?  

Footnotes:
1: The opening of the series’ second musical does include the formation of the Contract, in which the demon who would become Sebastian is first summoned to Ciel’s side. However, as the costume worn by Sebastian’s actor, Matsushita Yuya, does not incorporate any of the canon images offered by the anime or manga, nobody in the fandom acknowledges it as a “legitimate” representation of Sebastian’s true form. It is, quite simply, Sebastian in his butler uniform, plus a cape.
2: While said scene was revealed during an anime event, it was written and drawn out by Toboso Yana. As such, most fans consider it “equally canon” as the manga. 
3: Such as “The Dark Crow Smiles,” a film analysis of the final scene of the episode. 
4: “Furete sugu ni hagasu kuchibiru
Soshite mata sotto furete
Nami no you ni dakishime atte
Unmei ga kuzure yuku oto no kiku
Karame nagara mayou yubisaki
Sore wa tsumi? Sore tomo wana?
Koori data mune no honou ga
Toke dashite moe dashite me o tojiru”


Works Cited

Clico. “Indefinite” PUBLISH DATE. YEAR.  26 Oct. 2009.

Fister, Pat. “Tengu, the Mountain Goblin,” Japanese Ghosts and Demons, New York: George Braziller, Inc. 1985, pp. 103-112.

Fukuyama, Sakurako, dir. “Kuroshitsuji: Sono Shitsuji, Yūkō” (“Black Butler: That Butler, Amnity”). May. 2009.

Fukuyama, Sakurako, dir. “Myujikaru Kuroshitsuji: The Most Beautiful DEATH in the World, Sen no Tamashii to Ochita Shinigami” (“Musical Black Butler: The Most Beautiful DEATH in the World, One Thousand Souls and a Fallen Death God”). May. 2010.

Higashiyama, Kazuko and Sakura Kinoshita. Tactics Vol. 1-9, Mag Garden, 2001. First published in Comic Blade Masamune.

Hollstein, Mark. Lecture. Kansai Gaidai University, “Monsters, Ghosts, and the Making of Modern Japan.” 6 and 15 Sep. 2010.

“Kuroshitsuji: Sono Shitsuji, Kyoso Akai Barentain Dei” (“Black Butler: That Butler, Red Valentine’s Day”) Aniplex. 31 Jan. 2010.

Matsui, Yūsei. Majin Tantei Nougami Neuro Vol. 1-23, Shueisha, 2005. First published in Weekly Shōnen Jump.

Ogura, Hirofumi, dir. Kuroshitsuji II. 2010. BlackButler.net. 2010. July to Sept. 2010.

Takeuchi, Mick. Her Majesty’s Dog Vol. 1-11 (English translation), Go!Comi, 2005. First published as Jou-sama no Inu, Akita Shoten, 2001.

Toboso, Yana. Blog. Devil’s Sixth Day.

Toboso, Yana. Kuroshitsuji Vol. 1-10, SquareEnix, 2010. Translations from BlackButler.net. First published in Monthly GFantasy.

Toboso, Yana. Kuroshitsuji Kyarakuta- Gaido; Sono Shitsuji, Shūgō (Black Butler Character Guide; That Butler: Assembles) SquareEnix, 2009.

Toshiya, Shinohara, dir.  Kuroshitsuji. 2009. Animeseason.com. 29 Mar. 2009.



(What I really should have mentioned is the use of the line “this is my way of love” from the song, “The Dark Crow Smiles,” which is clearly meant to be Sebastian’s theme. Oh well. Maybe next time, haha.)