Demon Slayer review: What propelled the breakaway anime of the quarantine era?

Kimetsu no Yaiba (2019), also known as Demon Slayer, and its subsequent cinematic release Mugen Train (2020), captured the imagination of contemporary anime enthusiasts so much, the said movie even managed to dethrone both Titanic (1997) and Spirited Away (2001) as the all-time highest grossing film in Japanese box office. Mugen Train also made history in being the highest grossing anime film of all time. To consider this was achieved during the coronavirus pandemic, which shut down theaters in nations were the disease has spread, one could only speculate how well it could have performed in a normal year. Not only so, its music headlined by LiSA’s Gurenge (Red Lotus) as opening theme song produced the first single by a female artist to reach more than a million digital downloads, peaking at 3rd in Oricon. The ratings were also riding on its popularity, with both the anime series and the film receiving generally commendable reviews. Encouraged by this development, a new season called Yūkaku-hen (Entertainment District Arc) was set to premiere later this year. However, what could have launched Demon Slayer, produced by Ufotable (of Fate series fame), as a worldwide phenomenon? This review article would attempt to analyze what might be regarded as the quarantine era’s breakaway anime. Warning: spoilers ahead!

Throwback Japan? Taisho era individualism vis-a-vis family and state values

Set in an alternative Taisho era (1912–1926) wherein demons proliferated to feast on human flesh to sustain their vitality, the story followed Tanjiro Kamado and his sister Nezuko in their path to avenge their family whose members were mercilessly killed by Muzan Kibutsuji, the first and the strongest of the demons. It turned out that Muzan’s primary objective was not the mere multiplication of demons, but the elimination of their fatal weakness, exposure to the sun. Fighting this menace was the Kisatsutai or Demon Slayer Corps, an independent organization composed of warriors from all over and trained specifically to defeat demons. While the plot seemed simple enough, with the protagonist being a static character who possessed a “pure soul” and nothing much else, it was the magnificent animation and the debate on the morality of the Corps' operations that elevated Demon Slayer as a whole. For most of the series, the bond between siblings Tanjiro and Nezuko carried the emotional impetus, with subplots such as that of Shinobu Kocho’s dream of demons living amicably with humans being sidelined, especially considering how the Demon Slayer Corps in general viewed demons as incurable abominations that need to be isolated and exterminated from society. If that reminded of the stigma against virus-infected people, this was probably because it could still be observed to this day. Tanjiro’s faith that Nezuko, resisting her demon instincts with willpower and determination, would be healed someday even with no clear ideas on how the cure would come about may also mirror the hope of those who believed that the pandemic would be over soon and lives would be saved in the process.

The values for family and state, however, may stand in contrast with rising individualism of the historical Taisho era. Squeezed between the modernization of the Meiji era and the militarization of the early Showa era, combined with the secluded nature of Emperor Taisho’s rule (owing to his personal issues), the Taisho aesthetic was not only confined with fashion and art, but also in the emphasis for personal autonomy and self-fulfillment. Tanjiro’s journey mostly involved serving the nation, primarily as a demon slayer, and serving his family, of which Nezuko was the only surviving member. There was little to no exploration of what Tanjiro as a person wanted for himself, perhaps with the exception of his fascination with Shinobu’s adopted sister Kanao, despite all his talk about following the heart and pursuing one’s passion. Yet perhaps, this felt like a breath of fresh air (no pun intended) for a generation who grew up with the individualistic and overpowered heroes of the 2010s. It felt so long since credible training montages have been seen in recent anime. One could only cite the likes of Sword Art Online (2012), One Punch Man (2015), or even Cautious Hero (2019) to appreciate this trend. Tanjiro resembled none of that, gaining his skills from sheer hard work and deriving his motivation from a cause other than himself. This was, of course, not a new theme, but the fact that Demon Slayer was reviving this provides the case of how tested tropes in its genre could still work wonderfully in the new era. Meanwhile, speaking of fashion, one has to note how the Demon Slayer uniform reminded of the Meiji era gakuran, largely inspired by European military wear. With their swords, the Kisatsutai seemed to resemble more the Battotai of the Meiji era. This might be trivial to many audiences, but the mix of Japanese and Western fashion was a cultural process that continued to this day. The yearning for the Taisho aesthetic was not confined to the Demon Slayer wave, however, as earlier anime set in this historical period also made their mark in the industry. Take for example the steampunk Sakura Wars (1997).

Organizing the Kisatsutai: What took them a thousand years in battling demons?

With the astounding techniques developed by the Demon Slayer Corps throughout the years, compounded by their numbers, one may wonder why it took them so long to get their act together. However, upon closer examination of their administrative structure, it might come as a surprise for those who loved the series if it was said their organization was less than optimized. Not only did they fail to receive official government sanctions, their internal development was also dangerously rigid. Even with Tanjiro’s batch, only a handful (including himself) survived their so-called Final Selection, which culled the weaker candidates by allowing them to become demon feed, instead of continually training them to become more beneficial members of the Corps. Their ranking system also made little sense with most of the characters being at the bottom of the hierarchy like Tanjiro and his friends, and being at the top like the elite Hashira, which Shinobu was part of. One may recall Tintin and the Broken Ear (1937), wherein colonels outnumbered corporals for some reason. It must also be noted how the Demon Slayers failed to innovate. With the sword hunts of the Meiji era, reinforced by the Haitōrei in 1876, it could have been logical if they came up with a way to comply with government policies if it meant they would be able to secure official sponsorship. Note how some Demon Slayers even avoided authorities simply because they carried swords. Relying mainly on sporadic reports of unexplainable events, easily assumed as demon activity by the leadership as exhibited by Mugen Train, and relayed through speaking birds, it would be difficult for Demon Slayers to even coordinate as a modern armed force. True enough, they failed to note Muzan taking residence in capital Tokyo itself. While swords remained as a weapon of choice even through the subsequent Showa era, if Demon Slayers supposedly forged demon-proof metal, where were the efforts to further analyze their elements to come up with other applications besides direct decapitation through the neck? At the least, their uniforms were said to be strong enough to protect them from minor demon attacks. Unfortunately, progress did not go further. Could one just imagine if everyone wore mass produced clothing and other forms of protection with anti-demon properties? Not only would they profit from its sales, they might have also tapped the general population as a citizen army forming a second line of defense against demon activity. Of course, there was the question of resources, but that may be left for the plot progression to justify eventually.

Of course, one may argue that it was the seemingly conservative nature of the Demon Slayer Corps that largely prevented them from even believing Nezuko can be cured from being a demon, and how this might as well be the case for innovation. More than leadership, there was lack of followership in the Corps, considering how recruitment remained weak despite the assumed increase in demons. As the Hashira attested, it was either the recruits were directly affected by demon activity, or they inherited their affiliation from former Demon Slayers, which only indicated that shared community and principles were the least to be considered in keeping the Corps together. For what? The mere reason that the public would not believe the existence of demons? Then again, even if Muzan was powerful beyond compare, the first demon could have been successfully isolated and deprived of resources had the Corps been more focused in their collective efforts rather than flaunting their strength which the government did not even recognize. Japan itself during the Taisho era was already a world power. It had triumphed against China in 1895, against Russia in 1905, and against Germany in 1918. Emphasis on internal weakness of the nation could have made better sense in an earlier setting, such as with Rurouni Kenshin (1996) featuring a vengeful Makoto Shishio taking advantage of the chaos brought by the Satsuma Rebellion. However, the relative stability of the Taisho era, perhaps with the exception of the aftermath of the Great Kanto Earthquake in 1923, made it possible for militarism to emerge by the time of Showa. Of course, had the Corps been better at policy implementation and governance, it would have not taken a Tanjiro to sort things out for them eventually.

Saibancho, the verdict

Despite the apparent weakness of the plot and its prevailing aspects, the series providing that inkling of a predictable protagonist victory, it was nonetheless lifted by the beauty of the rest of its features. The marvelous mix of 2D animation, notably the ink-inspired effects of their special attacks, with 3D created a specially appealing watch. The fight choreography deserved praise, even as it was only to be expected that in a supernatural setup techniques beyond average human skills would be exemplified. Also significantly, the return of love for friends and family as driver of the protagonist’s actions with Kimetsu no Yaiba gave a similar nostalgic feel that made remakes of older anime such as Sailor Moon (1992), Yu Yu Hakusho (1992), and Shaman King (2001) plausible in this era. Another feature of this series that made it acceptable for many audiences was the fact that it was not dragged long enough for the sake of it being everlasting. There were other anime such as Detective Conan (1996), One Piece (1999) and Naruto (2002) which have permeated society’s consciousness not only because of their sheer popularity, but also due to their enormous running time as a series. However, with Demon Slayer’s source material finished as of 2020, there would be this fulfilling atmosphere that the series would meet an eventual conclusion like Fullmetal Alchemist: Brotherhood (2009) or Attack on Titan (2013), among others, than just the protagonist finding yet another antagonist to sort out.

Meanwhile, Tanjiro’s path of vengeance did not breed disgust nor other ethical implications like what the ranks of Redo of Healer (2021) did. Demon Slayer utilized the classical feel-good theme of rooting for the protagonist to satisfy his revenge, even though of cours, forgiveness should have also been a viable option. In the same way, with the similarly powerful back stories of humans turned demons, Nezuko being at the foremost, one could also sympathize with those who fell victim to Muzan’s overarching plan to beat the sun’s power. The failure to protect the citizenry from demon proliferation was not only based on the potency of Muzan Kibutsuji, but also partly attributed as well to the lack of capabilities on the side of the Demon Slayer Corps. If the government would not heed their warnings regardless of the gravity of the situation, they could still go to the people who were directly endangered by the demon threat. One should not underestimate the power of public energy and participation, even against a supernatural foe. By making itself an exclusive organization, the Demon Slayer Corps tightened its pool of talents and resources. While some may view these rational arguments as inconsequential to a work of fiction such as Demon Slayer, fiction usually has basis on reality, and the very relatability of the series would be a testament to this observation. People understood where Demon Slayer was coming from. Above all, the primary catalyst of the series was love.

(Photos from the series courtesy of Ufotable)