Lilim Zebul - Kanan-sama wa Akumade Choroi

Lilim Zebul is one of the most distinctive supporting characters in Kanan-sama wa Akumade Choroi. As the mother of Kanan, Milch, and Miel, and the wife of the Archdemon of Gluttony Beelzebub, she occupies a unique space in the story: a centuries-old demon of legendary beauty whose gentle demeanor hides deep trauma, profound maternal affection, and a surprisingly fluid sense of personal boundaries.

Her age is never stated precisely, but context makes it clear she is several thousand years old. Kanan herself is already over a thousand years old while still appearing as a high-school student, and Lilim has been married to Beelzebub for millennia. Like most high-ranking demons, she ages extremely slowly and presents as a mature yet youthful adult woman. This vast lifespan informs both her composure and her occasional ditzy detachment from ordinary human or even younger demon sensibilities.

Physically, Lilim is the former greatest beauty of the Demon Realm, with a figure that surpasses even her already well-endowed daughter Kanan. She is tall and extremely voluptuous, with an exaggerated hourglass silhouette—narrow waist, wide hips, and what can only be described as gigantic breasts. In speculative terms consistent with the series’ visual language, her bust falls in the 115–120 cm range. She has pale skin, waist-length mauve-to-pale hair, burgundy or reddish-purple eyes, forward-curving demon horns often adorned with gold, pointed ears, and a visible tail she rarely bothers to hide while in the Demon Realm. Her usual attire is a sleeveless black dress with a dark fur collar, elegant yet deliberately revealing.

That androphobia is the defining psychological trait of her character for much of the early story. It stems from the relentless, aggressive pursuit she endured in her youth because of her beauty; the harassment escalated to genuine trauma long before she met Beelzebub. As a result, she panics, screams, or breaks down at the mere presence of most adult men. The only consistent exceptions are her husband and prepubescent or very young-looking males. Beelzebub himself often wears a large costume or mascot head around her simply to avoid triggering her fear. The household employs almost exclusively female servants for the same reason.

Her personality is otherwise gentle, soft-spoken, maternal, and more than a little airheaded. She is highly expressive, seeks physical comfort from her daughters when anxious, and treats her family with an almost infantilizing level of affection. Once her “switch” flips—usually through runaway delusions or strong emotion—her androphobia can temporarily vanish, revealing a bolder, more sensual side that fits her name’s succubus associations. She cooks well, dotes heavily on her children, and enjoys shared experiences with them, though her lack of shame and demonic norms frequently embarrass the more human-coded Kanan.

Lilim Zebul has three daughters—Kanan, Milch (also called Miltie), and Miel—each with a distinct personality.

Kanan, the eldest, is the most serious and human-like of the three. She is prideful, easily flustered, and struggles with her own inexperience in love, often reacting with embarrassment or jealousy to her family’s shameless behavior.

Milch (Miltie), the middle sister, is a mischievous prankster with a heavy sister complex. She constantly teases and provokes Kanan to get her attention, acting bratty on the surface while secretly adoring her older sister. Literally, a masugaki.

Miel, the youngest, appears cool and composed but hides an equally intense attachment to her sisters. She often gives cold stares when she feels Kanan or Lilim are being “taken” by others, and she has a more quietly twisted, possessive side beneath her calm exterior. Literally a netorase enjoyer.

Lilim’s relationship with Kyouji evolves dramatically across the series. She initially reacts to him with pure panic and even wishes he were a girl so she would not have to deal with a male in her daughter’s life. Over time, his consistent gentlemanliness, complete lack of predatory interest in her, and genuine devotion to Kanan allow her to accept him. By the time she fully welcomes him into the family, she is calling him her “beloved son.” Later developments show that any remaining reservation has disappeared; she treats him with the same relaxed comfort she reserves for Beelzebub, seeks him out for solace, and interacts with him without fear. Parallel to this acceptance runs a recurring comedic gag in which her mind occasionally jumps to mildly inappropriate or romanticized delusions involving him. These moments never develop into genuine romantic pursuit; they are portrayed as the product of her ditzy personality, residual succubus instincts, and the fact that Kyouji is the first man besides her husband who does not trigger her trauma negatively. Beelzebub remains entirely unbothered by these lapses, reflecting the far looser boundaries common among high-ranking demons.

Within the Zebul household, Lilim’s behavior is largely treated as normal. The family as a whole operates on chaotic, high-tolerance demon logic regarding affection, physical closeness, and personal space. Kanan stands out as the clear anomaly: she is the most human-like in temperament, the most protective of boundaries, and the most prone to jealousy and embarrassment when her mother’s interactions with Kyouji cross lines that only she still recognizes as problematic. Lilim, by contrast, simply does not share those human hang-ups once her fear has been overcome.

In short, Lilim Zebul is a study in contrasts—a traumatized yet loving mother, a legendary beauty who panics at the sight of most men, a doting parent whose affection sometimes slides into the improper by human standards, and a demon whose long life and cultural norms make her both endearing and quietly alien. Her gradual acceptance of Kyouji, the persistence of her odd little delusions, and the way the rest of the family treats those quirks as unremarkable all reinforce the larger theme: the Zebul family is fundamentally not human, and Kanan is the one who most often has to bridge that gap.

A snap of the fingers and the words “Redlight Transformation.”

The moment the phrase is spoken, the ancient seal shatters. Lilim’s posture changes, her eyes glaze with heavy lust, and the long-buried nymphoslut personality surges forward. She retains every memory of her training from ages past and every memory of her current life as queen—yet the original proud personality is fully overwritten. In this state she is nothing but a pleasure-obsessed whore who lives only to be used. A second snap of the fingers and the words “Normal Mode” instantly reverse the process. The seal reasserts itself. Lilim returns to her elegant, regal self with zero recollection of what she just did or what she became. To her, no time has passed and nothing unusual has occurred. Thousand of years ago, in one day, after her consort leaves to oversee the lower circles, an unknown figure activates the command. Lilim transforms on the spot. She is taken to a hidden chamber beneath the palace where her body is once again reshaped—heavy makeup, fresh piercings, the permanent abyssal tattoo reappearing across her lower abdomen, and a revealing black-and-crimson harness that leaves almost nothing covered. Daily “training” resumes exactly as it did thousands of years ago. Under the active transformation she eagerly submits to oral breaking, raw sex, double penetration, and deliberate impregnation play. When the session ends, the same figure snaps their fingers and says “Normal Mode.” Lilim returns to her throne rooms with no memory of the hours that passed, only vague physical sensations she attributes to overwork. Because the transformation can be switched on and off at will, everything happens without her consort’s knowledge. He continues to see only the loving, dignified queen he has always known. On rare occasions he may catch glimpses of her in the palace corridors or at public events while she is still in transformed state, but he never understands what he is truly witnessing—believing only that his queen is simply in a particularly intense mood or performing some obscure demonic ritual. Over successive days the training deepens. On the final session the figure forces a complete permanent reinforcement of the merged self while she is still under the transformation. When it ends and she is returned to Normal Mode, the seal holds... but the underlying corruption is stronger than ever. Each future activation becomes smoother, her slut persona more complete, and her hunger more absolute. Fully awakened in Demonic Transformation, Lilim eventually opens her own palace to select guests for private orgies. She serves dozens of demons with open enthusiasm, begging to be used and filled, all while her consort remains completely unaware in another wing of the palace. Months later, still under the active command, she stages a private live birth for her most devoted clients—giving birth on a velvet altar while being taken by multiple partners, then immediately asking to be impregnated again. Whenever the fingers snap and “Normal Mode” is spoken, the male androphobic Demon Queen returns, serene and oblivious, yet also goofy, the seal once more locking every filthy memory away. Perhaps her male androphobic was because of her body instinctively knew about her body modification.