Abstract
Kara, Connor, and Marcus, the central characters of <Detroit: Become Human>, gain ontological status by breaking away from the typical. What is important to note here is how they acquire ontological status. They do not try to 'humanize' themselves in order to attain the same status as 'humans'. For example, while Bicentennial Man(1999) ends with the “humanization of the inhuman,” Detroit establishes its identity through the “inhumanity of the inhuman,” i.e., the “dehumanization of the defective.” For androids, the “defective” is the “inhumanity” of the defective. For the androids, the 'defective' is rather 'human' and therefore acts as a threat to the 'human', which presupposes an ontological difference. Therefore, the moment a human 'defect' takes on 'human-being', the android becomes a substitute for a human being, and the confrontation becomes even worse. However, it does not become 'non-human' as a result of human alienation, but when it becomes 'non-human', it acquires an ontological status as good as 'human' and can only become a 'free being'. The origins of the recognition of the posthuman problem in <Detroit> are rooted in the problem of racial or ethnic discrimination. The 'androids', which are placed as objects of discrimination and hatred, show a pattern of intensifying confrontation as they get closer to 'humans', which is similar to the position of marginalized minorities in mainstream culture. In other words, when a marginalized minority perfectly fulfills the tasks assigned to them by the mainstream culture, they become an intruder that threatens the mainstream culture. <Detroit> offers a response to this situation. While showing the aspects of 'submission' in Kara, 'subordination' in Connor, and 'antagonism' in Marcus, it can be seen that their narratives acquire an ontological status equal to that of 'humans' when they establish their identity as 'defective goods', that is, when they realize 'becoming non-human'. <Detroit> provides a glimpse into how the marginalized are viewed in mainstream culture.
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