“Satanism” by Any Other Name: The Unlikely Rise of Belzebubs

Finnish cartoonist and musician JP Ahonen’s webcomic-turned-animated-series “Belzebubs” has found mainstream success without sacrificing its artistic vision. This is refreshing, given the era in which social media has turned every personal quirk into a potential brand.

The show tells the story of Sløth, a stay-at-home dad who moonlights as the lead singer of a black metal band, alongside his wife Lucyfer and their two kids, Lilith and Leviathan. They navigate family life while adhering to their own brand of Satanism. Ahonen’s creation is often described as “The Addams Family” meets “Modern Family,” but this comparison doesn’t quite do it justice – it’s more like a thought-provoking mashup of both, with a dash of Finnish humor.

What sets Belzebubs apart from other animated series is its lack of didacticism. Ahonen aims to showcase how these families can live in harmony despite being outsiders in their own community, rather than preaching about the benefits of Satanism or liberal values. This approach is a welcome change from the more heavy-handed storytelling found in many modern animated series.

Ahonen has spoken candidly about his personal struggles with depression and suicidal thoughts, which led him to create Belzebubs as a form of therapy. The show’s ability to connect with audiences worldwide, spanning from the US to Brazil, is a testament to Ahonen’s talent as an artist and storyteller. It’s remarkable that something born out of darkness has resonated so strongly with people.

As the series explores its characters’ individual stories, it raises questions about the nature of tolerance in our increasingly polarized world. By showcasing families who are unapologetically themselves, despite societal expectations, Belzebubs challenges viewers to reevaluate their own prejudices. Ahonen’s creation may not be everyone’s cup of tea, but its impact is undeniable.

A second season is already in the works, and it’s clear that there’s still much to explore with this cast of characters. Ahonen notes that “the comic is still the beating core of this story,” and the animated series serves as a natural extension of his work. With any luck, Belzebubs will continue to push boundaries and challenge audiences in equal measure.

Ahonen’s success story shouldn’t be overlooked – not just because it represents a rare case of artistic integrity, but also because it speaks to the power of creative expression in breaking down barriers between people. By embracing his own brand of eccentricity, he’s given us a show that defies categorization and inspires conversation. As we continue to navigate our increasingly complex world, Belzebubs offers a timely reminder: sometimes, it takes a little bit of Satanism – or at least, a willingness to challenge the status quo – to bring people together.