{
"id": "demon-slayer",
"title": "Demon Slayer",
"lang": "en",
"source_lang": "en",
"summary": "Japanese manga series by Koyoharu Gotouge about demon-fighting siblings, adapted into a major animated film and television franchise.",
"category": "arts",
"subcategory": "games-comics",
"type": "work",
"aliases": [
"Demon Slayer: Kimetsu no Yaiba",
"Kimetsu no Yaiba",
"鬼滅の刃"
],
"generated_at": "2026-10-14",
"model": "pro/gpt-6.1-sol",
"url": "https://aiwiki.page/en/demon-slayer/",
"translations": {
"zh-Hans": {
"url": "https://aiwiki.page/zh/demon-slayer/",
"json": "https://aiwiki.page/zh/demon-slayer.json"
}
},
"sections": [
{
"heading": "",
"text": "Demon Slayer: Kimetsu no Yaiba is a Japanese manga series written and illustrated by Koyoharu Gotouge. Serialized in Shueisha’s Weekly Shōnen Jump from 2016 to 2020 and collected in 23 volumes, it follows Tanjiro Kamado, a young charcoal seller whose family is killed by demons and whose surviving sister, Nezuko, becomes one. Set in Taishō-era Japan, the story concerns Tanjiro’s entry into the Demon Slayer Corps and his efforts to restore Nezuko’s humanity. It combines sword-fighting adventure, supernatural threats, tragic character histories, and comedy. (en.wikipedia.org)\n\nThe series developed into an international entertainment franchise through ufotable’s anime adaptation, which began in 2019, and subsequent television installments and theatrical films, including Mugen Train (2020) and the first Infinity Castle film (2025). Its commercial reach is reflected in a publisher-reported worldwide circulation exceeding 220 million manga copies, including digital editions, in July 2025. The work’s publication history, fictional world, characters, narrative concerns, adaptations, and reception together illustrate the relationship between contemporary manga publishing and screen entertainment. (demonslayer-anime.com)"
},
{
"heading": "Creation and Editorial Development",
"text": "Koyoharu Gotouge developed the manga from Kagarigari, a one-shot that received an honorable mention in the 70th Jump Treasure Newcomer Manga Awards in 2013. It preceded Gotouge’s published debut, Monju Shirō Kyōdai, in Shōnen Jump NEXT!! in 2014. Subsequent one-shots included Rokkotsu-san (2014) and Haeniwa no Zigzag (2015). Shueisha identifies Kagarigari as the predecessor of the eventual series, which began in Weekly Shōnen Jump’s eleventh issue of 2016. (shueisha.co.jp)\n\nFirst editor Tatsuhiko Katayama recalled returning to Kagarigari after unsuccessful serialization proposals. Its recognizable elements—demons, swords, and a Japanese historical setting—offered a more accessible framework for Gotouge’s storytelling. The resulting proposal, Kisatsu no Nagare, failed the serialization selection process. In a February 5, 2020 interview, Katayama described the next revision as replacing its taciturn protagonist with a more ordinary, emotionally approachable figure. Tanjiro already existed in Gotouge’s conception as a supporting character: a charcoal seller whose family had been killed and whose surviving sister had become a demon. Katayama proposed making his effort to restore her humanity the central narrative. (news.livedoor.com)\n\nFor Katayama, Nezuko’s presence also explained Tanjiro’s unusual attitude toward enemies: having a demon sister prevented him from treating all demons as absolute evil. He recalled defending the chapter 8 scene in which Tanjiro holds the dying Hand Demon’s hand; Gotouge had considered removing it. The editor regarded this compassion as essential to the protagonist’s identity. (mangaplus.shueisha.co.jp)\n\nThe working title Kisatsu no Yaiba was revised because 殺 (satsu, “kill”) seemed too forceful. According to Katayama, discussion produced Kimetsu no Yaiba (鬼滅の刃), substituting 滅, associated with perishing or destruction. The unfamiliar compound kimetsu was distinctive but pronounceable. This Japanese wording names a blade and demon destruction; the international title Demon Slayer: Kimetsu no Yaiba adds an English designation rather than translating it word for word. (mangaplus.shueisha.co.jp)\n\nVisual revisions likewise sought immediate recognition. Katayama recalled requesting stronger distinguishing features for Tanjiro, after which Gotouge added his scar and earrings. Urokodaki’s initially exposed face became masked following similar feedback. He also attributed an early five-senses scheme to Gotouge: Tanjiro’s smell, Zenitsu’s hearing, Inosuke’s touch, Genya’s taste, and Kanao’s sight. (mangaplus.shueisha.co.jp)\n\nThese accounts are editorial recollections, including their reports of Gotouge’s remarks. Katayama remembered Gotouge mentioning books on novel-writing when asked about dialogue, particularly Giyu’s forceful rebuke in chapter 1. His later interview also records limits to editorial intervention: Gotouge resisted shortening Tanjiro’s training, reasoning that an ordinary person could not become strong so quickly. (mangaplus.shueisha.co.jp)"
},
{
"heading": "Manga Serialization, Editions, and Translation",
"text": "Koyoharu Gotouge’s manga was serialized in Shueisha’s Weekly Shōnen Jump from February 15, 2016, to May 18, 2020. It began in the magazine’s 2016 issue 11 and concluded with chapter 205, establishing a completed main series rather than an indefinitely continuing serial. These dates refer to the Japanese magazine publication: the subsequent appearance of collected books and translated editions followed separate schedules. The chapter numbering remained the principal reference system across editions, allowing individual installments to be identified independently of their magazine issue or collected-volume placement. (en.wikipedia.org)\n\nShueisha collected the series into 23 tankōbon, or collected paperback volumes, under its Jump Comics imprint, beginning on June 3, 2016. The final volume appeared on December 4, 2020, more than six months after the magazine conclusion. Volume 1 contains chapters 1–7, whereas volume 23 collects chapters 197–205. Shueisha’s catalogue identifies the final Japanese volume as a 232-page book and records the same December 4 release date for its print and digital editions. Thus, the completion of serialization in May and the completion of the Japanese book edition in December mark different stages of publication, not competing dates for the story’s ending. (en.wikipedia.org)\n\nThe collected edition also contains material beyond the chapters as originally printed in the magazine. Shueisha advertised volume 23 as including 39 pages of additional material drawn by Gotouge, accompanying the concluding installments. This expanded presentation belongs to the final volume of the existing series; it does not constitute a twenty-fourth volume or a renewed serialization. Supplementary author comments, illustrations, and other between-chapter additions likewise need to be distinguished from numbered story installments. Such material provides an editorial and authorial framework around the narrative, even where added story pages elaborate its conclusion. The completed main sequence remains 205 chapters. (kimetsu.com)\n\nVIZ Media’s English-language publication developed in stages. Its digital Weekly Shonen Jump previewed the first three chapters through the “Jump Start” program in 2016, without immediately adopting the manga for continuous serialization. VIZ subsequently announced its North American license on July 20, 2017. Its collected English translation, titled Demon Slayer: Kimetsu no Yaiba, began with volume 1 on July 3, 2018, and reached volume 23 on August 3, 2021. These releases reproduce the 23-volume organization of the Japanese collection, but their publication dates describe the English edition rather than the original run. (en.wikipedia.org)\n\nDigital chapter access formed another publication channel alongside collected books. In December 2018, VIZ announced that Demon Slayer would join its expanded simultaneous-release lineup, with the redesigned Shonen Jump service launching on December 17. The announced model separated free access to recent chapters from paid access to the back catalogue. This chapter-based service was distinct from purchasing either paperback volumes or digital collected editions: simultaneous publication concerned newly released installments, while the English books were still appearing on their own schedule. The availability of a chapter online therefore did not imply that its corresponding English collected volume had already been published. (viz.com)"
},
{
"heading": "Historical Setting and Supernatural Rules",
"text": "The principal story takes place in Japan during the Taishō era (1912–1926), rather than in the earlier age of samurai government. Its locations juxtapose isolated mountain households with commercial cities and modern transport: Tanjiro’s charcoal-selling mountain upbringing contrasts with the crowds of Asakusa in Tokyo, where he encounters Muzan Kibutsuji moving through ordinary urban society. The Mugen Train places the supernatural conflict aboard a passenger train, whose travelers become potential victims. These settings allow demons to inhabit the same world as contemporary commerce and technology while remaining largely concealed from the general population. (slam.org)\n\nDemons are transformed humans, not a separate naturally reproducing species. Muzan, their progenitor, ordinarily creates them by introducing his blood into human bodies; transformation is therefore not the automatic consequence of a bite. They possess superhuman strength and rapid regeneration, allowing them to survive wounds that would kill humans, and generally feed on human flesh. Some develop individualized supernatural abilities called Blood Demon Arts: these include manipulation of bodies, perception, and space, rather than a single standardized power shared by every demon. Tamayo’s creation of Yushiro is an exceptional instance of transformation outside Muzan’s direct agency. Nezuko is another exception: she restores her strength through sleep instead of eating humans and eventually becomes able to withstand sunlight. These departures are significant precisely because they contradict the usual conditions of demonic existence. (en.wikipedia.org)\n\nSunlight is normally fatal to demons, while ordinary weapons cannot reliably overcome their regeneration. The standard method of killing one is decapitation with a Nichirin weapon; preparations derived from wisteria provide another means of poisoning them. Shinobu Kocho specializes in poison-based combat rather than relying on the strength required to sever a demon’s neck. The rules nevertheless have explicit exceptions: Muzan cannot be dispatched by ordinary Nichirin decapitation, and some powerful demons have additional survival mechanisms or conditions that complicate an apparently successful beheading. Consequently, cutting off a head is a general combat rule, not an unconditional guarantee of victory. (en.wikipedia.org)\n\nThe Demon Slayer Corps is a privately organized force without official government recognition. Candidates typically train under an experienced cultivator before attempting Final Selection: surviving seven days among captive demons on Mount Fujikasane. Successful recruits receive uniforms, messenger birds, and the opportunity to select ore for their Nichirin swords. Its ten ordinary ranks run from Mizunoto to Kinoe; the Hashira constitute its elite swordsmen, operating under Kagaya Ubuyashiki’s leadership. Combat depends on a wider support network: swordsmiths manufacture and repair weapons, Kasugai Crows communicate assignments, and masked attendants called Kakushi recover casualties and transport injured fighters for treatment. The Butterfly Mansion supplies medical care and rehabilitation rather than functioning simply as another battlefield headquarters. (kimetsu-no-yaiba.fandom.com)\n\nNichirin swords are fictional weapons made from special sunlight-absorbing materials, with blades that change color according to their wielders. Their use is combined with Breathing Styles: named systems of breathing, movement, and sword forms, including Water, Thunder, Flame, and Beast Breathing. Total Concentration Breathing is presented within the story as a means of enhancing physical performance; rehabilitation training includes learning to sustain it continuously. Tanjiro’s Hinokami Kagura initially appears as a ceremonial dance inherited from his father, but preserves the movements and breathing of Sun Breathing, the foundational style associated with Yoriichi Tsugikuni. These are invented combat mechanics, not accounts of demonstrated human physiology or historical swordsmanship; their elemental imagery belongs to the work’s stylized representation of action. (meihaku.jp)"
},
{
"heading": "Principal Characters and Relationships",
"text": "Tanjiro Kamado combines his duties as a Demon Slayer with the effort to restore his younger sister, Nezuko Kamado, to humanity. His kindness and unusually acute sense of smell accompany a fighting repertoire that includes Water Breathing and the Hinokami Kagura. Nezuko, although transformed into a demon, becomes his protector and combat partner rather than his prey. Her resistance to attacking humans is attributed both to her own willpower and to Urokodaki’s hypnotic suggestion. Their complementary roles place Tanjiro inside an organization devoted to killing demons while requiring him to defend an exception to its rules. At the Hashira meeting, his protection of Nezuko becomes grounds for a trial, making their family relationship a matter of institutional responsibility as well as personal loyalty. (demonslayer-anime.com)\n\nZenitsu Agatsuma and Inosuke Hashibira become the siblings’ principal travelling companions. Zenitsu is fearful and prone to panic, yet enters a highly effective fighting trance when terror causes him to lose consciousness. His Thunder Breathing and exceptional hearing contrast with his anxious everyday behavior; his infatuation with Nezuko also shapes his place within the group. Inosuke is combative, competitive, and habitually wears a boar’s head mask. Raised in the mountains, he employs Beast Breathing and acute spatial perception. Whereas Zenitsu often hesitates before danger, Inosuke rushes toward it, creating contrasting patterns of behavior within the same fighting team. (demonslayer-anime.com)\n\nKanao Tsuyuri and Genya Shinazugawa belong to Tanjiro’s cohort but develop separate relationships with him. Kanao, Shinobu Kocho’s adopted sister and designated successor-in-training, practices Flower Breathing and possesses exceptional eyesight. Childhood abuse has left her reluctant to express preferences, and she initially uses a coin toss to make decisions; Tanjiro encourages her to choose for herself. Genya initially behaves aggressively but becomes Tanjiro’s ally during the Swordsmith Village conflict. Unable to use Breathing techniques, he fights with a firearm and sword and temporarily acquires demonic characteristics by eating demon flesh. His troubled relationship with his elder brother, the Wind Hashira Sanemi, contrasts with the Kamado siblings’ mutual protectiveness. (en.wikipedia.org)\n\nThe siblings receive different forms of guidance from senior Corps members. Sakonji Urokodaki, a former Water Hashira, trains Tanjiro and shelters Nezuko; his pupil Giyu Tomioka, the current Water Hashira, directs Tanjiro toward that training. Both stake their lives on Nezuko’s refusal to eat humans. Kyojuro Rengoku, the Flame Hashira, offers an example of leadership through his determination to protect the Mugen Train’s passengers and his encouragement of the younger swordsmen. Shinobu Kocho, the Insect Hashira, combines medical knowledge with poison-based combat, while her Butterfly Mansion provides treatment and rehabilitation. Above the individual Hashira, Kagaya Ubuyashiki heads the Corps and authorizes acceptance of the Kamado siblings despite opposition among its senior fighters. (en.wikipedia.org)\n\nMuzan Kibutsuji, responsible for Nezuko’s transformation, is Tanjiro’s principal enemy and ordinarily conceals himself behind a human appearance. His elite subordinates, the Twelve Kizuki, are organized into six Upper Ranks and six Lower Ranks, numbered within each division according to strength. Figures such as Rui, Enmu, and Akaza occupy different levels of this hierarchy rather than functioning as independent, equivalent adversaries. Muzan maintains obedience through intimidation and punishment: his destruction of most remaining Lower Ranks after Rui’s defeat demonstrates that membership offers no protection from its leader. (demonslayer-anime.com)\n\nTamayo and Yushiro stand outside Muzan’s opposing hierarchy. Tamayo is a demon physician who helps Tanjiro investigate a means of reversing Nezuko’s transformation, while Yushiro is devoted to her and uses a concealment-related Blood Demon Art. Their cooperation with the siblings establishes a distinction between being a demon and serving Muzan: Tamayo’s medical research is directed against him, and Yushiro’s allegiance is to Tamayo rather than to the Twelve Kizuki. (demonslayer-anime.com)"
},
{
"heading": "Plot Progression and Ending",
"text": "Tanjiro Kamado returns from selling charcoal to find his mother and siblings slaughtered by Muzan Kibutsuji; only his sister Nezuko survives, transformed into a demon. When she protects Tanjiro rather than devouring him, the swordsman Giyu Tomioka spares her and directs Tanjiro to Sakonji Urokodaki. After two years of training, Tanjiro passes Final Selection and joins the Demon Slayer Corps, seeking both Muzan and a cure for Nezuko. Early missions bring him to Asakusa in Tokyo, where the demon physician Tamayo agrees to investigate a treatment, and into partnership with Zenitsu Agatsuma and Inosuke Hashibira. At Mount Natagumo, the group confronts Rui’s coercive imitation of a family. Tanjiro combines his inherited Hinokami Kagura dance with swordsmanship, while Nezuko manifests a blood-based flame, but Giyu ultimately kills Rui. The siblings are subsequently brought before the Hashira, and Corps leader Kagaya Ubuyashiki authorizes their continued cooperation. (en.wikipedia.org)\n\nFollowing rehabilitation, Tanjiro, Nezuko, Zenitsu, and Inosuke accompany Flame Hashira Kyojuro Rengoku aboard the Mugen Train. The demon Enmu imprisons passengers in dreams and merges with the train; Tanjiro and Inosuke destroy his vulnerable neck while their companions protect the passengers. Their victory is followed by the arrival of Upper Rank Three, Akaza, who mortally wounds Rengoku before escaping sunrise. The next major mission takes the group into the entertainment district with Sound Hashira Tengen Uzui. There, Daki and her brother Gyutaro share the position of Upper Rank Six and must be beheaded simultaneously. Coordinated attacks accomplish this, and Nezuko burns away Gyutaro’s otherwise lethal poison. Tengen survives but retires after losing an arm and an eye. (en.wikipedia.org)\n\nAt the Swordsmith Village, Tanjiro joins Genya Shinazugawa, Mist Hashira Muichiro Tokito, and Love Hashira Mitsuri Kanroji against Upper Ranks Five and Four, Gyokko and Hantengu. Muichiro defeats Gyokko, while Tanjiro pursues Hantengu’s concealed main body. Dawn forces Tanjiro to choose between protecting Nezuko and stopping the demon from killing villagers; Nezuko pushes him toward the pursuit and unexpectedly survives exposure to sunlight. Her new immunity makes her Muzan’s principal target, since consuming her offers him a possible escape from his own fatal vulnerability. The Corps institutes Hashira-led training to strengthen its members, while Tamayo works with Shinobu Kocho on anti-demon medicines. (demonslayer-anime.com)\n\nMuzan’s arrival at Ubuyashiki’s residence begins the final offensive. Ubuyashiki sacrifices himself in an explosion designed to immobilize him, allowing Tamayo to administer her drug. Before the assembled swordsmen can finish their attack, Nakime draws them into the shifting Infinity Castle. Zenitsu defeats his former fellow pupil Kaigaku; Tanjiro and Giyu overcome Akaza; and Kanao Tsuyuri and Inosuke defeat Doma after Shinobu’s death exposes him to the poison accumulated in her body. Gyomei Himejima, Sanemi Shinazugawa, Muichiro, and Genya defeat Kokushibo, but Muichiro and Genya die. These separate battles eliminate Muzan’s strongest defenders at substantial cost to the Corps. (en.wikipedia.org)\n\nThe confrontation with Muzan continues above ground until sunrise. Tamayo’s medicine progressively weakens him, while swordsmen and support personnel prevent his escape; sunlight, rather than a solitary decisive sword stroke, finally destroys him. Meanwhile, the treatment administered to Nezuko restores her humanity. Before dying, Muzan transfers his blood and will into the gravely wounded Tanjiro, briefly making him a sunlight-resistant demon. Nezuko refuses to abandon her brother, and Kanao injects him with the remaining human-restoration medicine. Tanjiro rejects Muzan’s influence and returns to human form, although his right eye and left arm remain impaired. The Corps disbands, and the siblings return home with Zenitsu and Inosuke. (viz.com)\n\nChapter 205 shifts to contemporary Japan, presenting descendants of the survivors alongside reincarnated counterparts of characters who died. Tanjiro and Kanao’s descendants, Kanata and Sumihiko Kamado, inhabit the same ordinary social world as Nezuko and Zenitsu’s descendants, Toko and Yoshiteru Agatsuma. Yoshiteru reads Zenitsu’s account of the demon battles and connects their peaceful lives with the earlier generation’s sacrifices. Counterparts of Mitsuri and Obanai Iguro are married restaurant owners, while Yushiro remains alive as an artist devoted to depicting Tamayo. A photograph preserved in the Kamado household records the earlier companions together. (thepopverse.com)"
},
{
"heading": "Themes, Narrative Methods, and Visual Style",
"text": "Family obligation is presented as reciprocal protection rather than obedience based solely on kinship. Tanjiro’s effort to restore Nezuko’s humanity is answered by her protection of him and other humans: she is not simply the object of his rescue mission. Rui’s spider family provides a coercive counterexample. He assigns familial roles to other demons and maintains them through punishment, demanding the appearance of affection without mutual trust. At Mount Natagumo, Tanjiro explicitly rejects Rui’s description of terror and hatred as family ties. Rui’s subsequent recollections connect this domination to his loss of his own parents, making his manufactured household a destructive attempt to recover an attachment he no longer understands. (demonslayer-anime.com)\n\nCompassion toward demons does not generally mean exemption from responsibility. Their defeats frequently introduce memories of their human lives, shifting attention from the immediate threat to the person whose desires or suffering preceded demonhood. Rui’s dying recollections are one example; chapter 8 offers an earlier instance when Tanjiro holds the Hand Demon’s hand as it disintegrates. These scenes can be read as distinguishing the necessity of stopping violence from contempt for the defeated enemy. Tanjiro’s tenderness does not reverse the killing or erase its victims. The placement of recollection after, or near, a decisive blow allows the narrative to recognize a demon’s suffering without making that suffering a sufficient justification for predation. (demonslayer-anime.com)\n\nMortality gives collective effort its urgency. Human fighters accumulate injuries and cannot replace lost companions as demons regenerate damaged bodies. The concluding confrontation makes survival until sunrise a shared undertaking rather than a victory achieved by Tanjiro alone. Read against Muzan’s determination to preserve his own existence, the Corps’ sacrifices distinguish individual longevity from the continuation of a purpose through others. Inherited skills extend this contrast: the Hinokami Kagura preserves knowledge within the Kamado family, while training and cooperation distribute fighting abilities beyond a single exceptional individual. The heavy casualties described in volumes 21 and 23 keep such transmission from becoming an assurance that every participant will survive. (en.wikipedia.org)\n\nFlashbacks also interrupt combat to change its emotional or practical meaning. They may supply an opponent’s history, recover a remembered instruction, or connect present danger with an earlier relationship. Internal monologue serves a different function, breaking rapid exchanges into assessments of distance, injuries, breathing, and possible responses. Distinctive senses make this information character-specific: Tanjiro’s smell, Zenitsu’s hearing, and Inosuke’s tactile awareness provide different ways of perceiving otherwise concealed threats. Rather than presenting every fight from an external viewpoint, the series repeatedly makes the reader follow a combatant’s incomplete understanding of the situation. (en.wikipedia.org)\n\nSudden shifts into comedy have a corresponding visual form. Detailed faces and injured bodies give way to simplified heads, dot-like features, exaggerated tears, or blunt reaction drawings. These changes punctuate fear, embarrassment, and quarrels without requiring a separate comic subplot. In a 2021 Crunchyroll essay, Adam Wescott singled out the manga’s irregular, low-detail reaction faces and argued that their roughness was part of its appeal, distinguishing them from the smoother presentation of the anime. This is an attributed assessment of Gotouge’s drawing, not evidence that uneven linework follows a documented artistic influence. (crunchyroll.com)\n\nCostume patterns and stylized combat imagery supply additional visual identifiers: Tanjiro’s checks, Nezuko’s geometric kimono pattern, and the water- or flame-shaped trails surrounding sword techniques distinguish figures and movements within crowded compositions. Discussing volume 11 in March 2020, AIPT critic Trevor Richardson highlighted expressive eyes, patterned clothing, diagonal panel borders, and large spreads. He also observed that overlapping blood blades and cutting obi could make individual actions difficult to parse. His account identifies a tension within the manga’s visual style: dense patterns and sweeping attack shapes convey pressure and desperation, but sometimes require slower reading to reconstruct the physical exchange. (en.wikipedia.org)"
},
{
"heading": "Television Anime Production and Broadcast",
"text": "The television anime adaptation is produced by ufotable, with Haruo Sotozaki as director and Akira Matsushima responsible for character design; Matsushima is also credited as chief animation director on later installments. Screenplay production is credited collectively to ufotable rather than to a single series writer. Other continuing technical leads include director of photography Yuichi Terao and 3D director Kazuki Nishiwaki. These credits distinguish the adaptation’s direction, drawing supervision, and digital-image production from Koyoharu Gotouge’s authorship of the original manga. (aniplexusa.com)\n\nThe first television installment, Tanjiro Kamado, Unwavering Resolve Arc, began broadcasting on April 6, 2019. The next television productions were Mugen Train Arc, which premiered on October 10, 2021, and Entertainment District Arc, which began on December 5, 2021 and continued into 2022. Swordsmith Village Arc followed on April 9, 2023, with a one-hour opening episode, and Hashira Training Arc premiered on May 12, 2024, likewise with a one-hour opening broadcast. These named arcs provide a more precise chronology than season numbers alone, particularly because the two television installments launched in 2021 have distinct titles and production formats. (kimetsu.com)\n\nAdaptation involves restructuring material for episodic pacing as well as adding animation. The seven-episode Mugen Train Arc is not simply a repeat screening of the 2020 film: its first episode is an entirely new story following Kyojuro Rengoku on a mission before boarding the train. Episodes two through seven reorganize the train narrative with approximately seventy newly animated cuts, additional background music, new episode previews, and new opening and ending sequences. The Japanese production announcement specifies “cuts,” meaning individual shots, rather than seventy independent narrative scenes. Entertainment District Arc also opened with an hour-long episode, allowing its introduction a different duration from a standard weekly installment. (kimetsu.com)\n\nThe visual production combines drawn character animation with backgrounds, three-dimensional assets, and digital compositing. In a 2025 interview discussing the production team’s work across the adaptation and its films, Terao described compositing as bringing character animation, backgrounds, and 3D assets together after Sotozaki’s approval. This division of labor helps explain why action choreography cannot be attributed to character drawing alone: the finished shot also depends on how figures, environments, and effects are integrated. The television credits separately identify photography and 3D direction, while Matsushima’s chief-animation-director credit identifies the supervision of the drawn characters. (crunchyroll.com)\n\nThe principal Japanese-language cast includes Natsuki Hanae as Tanjiro Kamado, Akari Kitō as Nezuko Kamado, Hiro Shimono as Zenitsu Agatsuma, and Yoshitsugu Matsuoka as Inosuke Hashibira. Supporting performances include Takahiro Sakurai as Giyu Tomioka and Saori Hayami as Shinobu Kocho. Localized dubbing uses separate casts: the English version features Zach Aguilar as Tanjiro, Abby Trott as Nezuko, Aleks Le as Zenitsu, and Bryce Papenbrook as Inosuke. These are alternative language performances of the adaptation, not different television productions. (demonslayer-anime.com)\n\nJapanese broadcasting, overseas distribution, and home-video publication follow separate arrangements. For Hashira Training Arc, the Japanese schedule placed the initial broadcast on Fuji Television’s nationwide network, with additional broadcasts on Tokyo MX, BS11, and other stations; domestic streaming was listed separately across multiple services. Aniplex of America’s 2019 announcement named Hulu, Crunchyroll, and FunimationNow for the first installment’s streaming launch, whereas its 2024 announcement identified Crunchyroll for Hashira Training Arc simulcasting. Physical editions have their own territorial terms: the official limited-edition Blu-ray volume containing episodes 1–13 includes Japanese and English audio, English subtitles, cast commentaries, and production artwork, and is licensed specifically for the United States, Canada, and Mexico. Neither that disc configuration nor a particular streaming agreement describes availability worldwide. (kimetsu.com)"
},
{
"heading": "Theatrical Films and the Infinity Castle Trilogy",
"text": "Demon Slayer: Kimetsu no Yaiba—The Movie: Mugen Train opened in Japan on October 16, 2020, continuing the story of the 2019 television anime rather than retelling its opening adventures. It follows Tanjiro and his companions on their next assignment alongside Kyojuro Rengoku, placing the railway mission between the Tanjiro Kamado, Unwavering Resolve Arc and the subsequent Entertainment District Arc. Its position within the continuing narrative distinguishes it from a self-contained side story: events introduced and resolved in the film carry forward into the television adaptation’s later installments. (takaratomy.co.jp)\n\nThe seven-episode television Mugen Train Arc, which premiered on October 10, 2021, adapts the same central story into an episodic format; it is not a sequel to the film. Its opening episode presents a new account of Rengoku’s mission before boarding the train, while the remaining episodes rework the feature’s events. The official production announcement specified approximately 70 additional scenes, new musical tracks, episode previews, and new opening and ending themes. Thus, the theatrical and television versions overlap substantially, although their framing and supplementary material differ. The television presentation precedes the Entertainment District Arc in the broadcast sequence. (demonslayer-anime.com)\n\nTo the Swordsmith Village (2023) used a different theatrical format: a feature-length presentation combining episodes 10 and 11 of the already broadcast Entertainment District Arc with an advance screening of the extended first episode of the Swordsmith Village Arc. It opened in Japan on February 3, 2023, followed by a Los Angeles premiere on February 18 and general theatrical release in the United States and Canada on March 3. Rather than adapting an additional, film-exclusive adventure, it joined one television storyline’s climax to the next storyline’s opening. For theatrical exhibition, the footage was upconverted to 4K and the music remixed, although the official website noted that some venues could present a 2K version. (kimetsu.com)\n\nTo the Hashira Training (2024) repeated this compilation-and-preview arrangement. It paired episode 11, the conclusion of the Swordsmith Village Arc, with the first episode of the Hashira Training Arc, introducing the Corps’ preparations for the confrontation with Muzan. The American theatrical run began on February 23, 2024. This presentation likewise repackaged television material rather than constituting a separate stage of the plot: its new episode subsequently belonged to the television series. The theatrical preparation included 4K upconversion and sound formatted for 5.1-channel, 7.1-channel, and Dolby Atmos exhibition. (demonslayer-anime.com)\n\nFollowing the Japanese broadcast of the Hashira Training Arc finale on June 30, 2024, an Infinity Castle film trilogy was officially announced. Unlike the two preview compilations, this project continues the main adaptation into the battles within the demons’ stronghold. Its first installment, bearing the Japanese subtitle Akaza Sairai (“Akaza Returns”), opened in Japan on July 18, 2025, and in the United States and Canada on September 12, 2025. Crunchyroll and Sony Pictures Entertainment handled international theatrical distribution outside Japan and selected Asian territories, with North American screenings offered in subtitled Japanese and dubbed English, including IMAX and other premium formats. The 2025 release was explicitly identified as the first film of the three-part project, not as a complete adaptation of the entire Infinity Castle storyline. (crunchyroll.com)"
},
{
"heading": "Music and Sound",
"text": "Yuki Kajiura and Go Shiina share the adaptation’s music credit, but their contributions are not an equal division of every episode’s score. In a June 2019 interview, Shiina explained that Kajiura supplied the main theme and variants used at predetermined points, including the first episode’s prologue and conclusion; he composed music for the other scenes, battles, and characters. The production employed scoring to picture: music was written against particular sequences rather than assembled solely from a library of interchangeable cues. This allowed changes of tempo, key, and instrumentation to follow the action without interrupting its dramatic continuity. (cho-animedia.jp)\n\nRecurring material connects otherwise contrasting situations. Shiina described a common demon melody, heard in a child’s voice in episode 2, that could be transferred to strings or shinobue flute and supplemented with material reflecting individual demons’ human backgrounds. Character instrumentation also varies: Zenitsu’s music uses alto recorder, while the broader palette includes orchestral instruments and retro synthesizers. (cho-animedia.jp) Vocal passages are not confined to theme songs. Nami Nakagawa supplies the voice heard over episode titles, choruses associated with Breathing techniques, and the chorus accompanying Shinobu’s descent in episode 18. In episode 19, her performance of “Kamado Tanjiro no Uta,” credited to Go Shiina featuring Nami Nakagawa, accompanies the climax of Tanjiro’s confrontation with Rui. (kimetsu.com)\n\nThe opening and ending songs have separate songwriting and performance credits from the incidental score. LiSA’s “Gurenge,” the 2019 television opening, has lyrics by LiSA, music by Kayoko Kusano, and arrangement by Ryō Eguchi; its CD single appeared on July 3, 2019. (kimetsu.com) The ending, “from the edge,” is credited to FictionJunction featuring LiSA, with lyrics, composition, and arrangement by Kajiura. The production requested the same vocalist for both sequences to give the episode a unified musical frame. (kimetsu.com) For Mugen Train (2020), LiSA performed “Homura,” composed by Kajiura with lyrics written jointly by Kajiura and LiSA. Kajiura described its medium-tempo ballad form and quiet opening as deliberate responses to the screenplay, combining grief with forward movement. (animeanime.jp)\n\nMusic and sound design were coordinated rather than treated as independent layers. For Haganezuka’s introduction, Shiina substituted sleigh bells for the wind chimes visible on his hat to avoid duplicating the effects track; he also prepared alternative timbres when music and effects occupied the same sonic space. (cho-animedia.jp) In Mugen Train, blurred musical attacks distinguish dream sequences, while percussion patterned after railway movement travels through the 5.1 surround field. (animeanime.jp) Silence provides another contrast: reviewing the 2024 theatrical presentation To the Hashira Training, Lisa De La Cruz singled out the suspended, quiet moment when Nezuko kicks Tanjiro away during the Swordsmith Village climax, interpreting the pause as intensifying the apparent sacrifice. (butwhytho.net)\n\nCommercial soundtrack editions combine these categories without making them identical. The Tanjiro Kamado, Unwavering Resolve Arc soundtrack, released on May 26, 2021, includes Kajiura and Shiina’s incidental music, television-length versions of “Gurenge” and “from the edge,” and “Kamado Tanjiro no Uta.” (kimetsu.com) The two-disc Mugen Train soundtrack followed on December 14, 2022: its 50 tracks comprise 47 film-score cues, the film-length “Homura,” and television-length versions of LiSA’s “Akeboshi” and “Shirogane,” the television adaptation’s opening and ending. The release explicitly excludes the score for that adaptation’s newly produced first episode. (kimetsu.com)\n\n“Homura” won the grand prize at the 62nd Japan Record Awards on December 30, 2020. (jacompa.or.jp) It also rose from number 62 to number 8 on the Billboard Global 200 dated October 31, 2020, and reached number 2 on the corresponding Global Excluding U.S. chart. These are achievements of the recorded song, measured separately from soundtrack-album sales, film receipts, and manga circulation. (billboard-japan.com)"
},
{
"heading": "Supplementary Publications, Games, and Stage Adaptations",
"text": "Demon Slayer: Kimetsu no Yaiba—Stories of Water and Flame collects supplementary manga stories about Giyu Tomioka and Kyojuro Rengoku. Its credits distinguish Koyoharu Gotouge’s original concept from Ryōji Hirano’s story and artwork. Giyu’s episode pairs him with Shinobu Kocho in an investigation involving a hunter’s daughter, while Kyojuro’s concerns an assignment through which he hopes to demonstrate his suitability for the Flame Hashira position previously held by his father. VIZ Media published the English-language collection on January 4, 2022. These character-centered narratives extend the setting rather than continue the main manga beyond its ending. (viz.com)\n\nAya Yajima’s prose fiction similarly supplies additional episodes rather than a replacement account of the central plot. The Flower of Happiness, published in Japan on February 4, 2019, credits Yajima as author and Gotouge for the original work. Its title story follows Tanjiro’s search for a legendary flower associated with future happiness, undertaken with Nezuko’s welfare in mind. Other stories concern Zenitsu, Inosuke, Kanao, and Aoi, giving space to relationships and incidents outside the principal battles. The collection also includes a school-setting Kimetsu Academy story, separating that comic alternative setting from the Taishō-period adventures. (shueisha.co.jp)\n\nReference publications serve a different function from these narrative additions. Shueisha released Gotouge’s first official fanbook, Kisatsutai Kenbunroku, on July 4, 2019, and a second on February 4, 2021. The first combines character profiles—including birthdays, ages, and interests—with production material and supplementary drawings. Gotouge’s 160-page art collection Ikuseisō, also published on February 4, 2021, assembles illustrations with the artist’s explanatory comments and fifteen newly drawn or previously unpublished monochrome pictures. By contrast, Demon Slayer: Kimetsu Academy is a narrative comedy manga: Natsuki Hokami supplies its story and art from Gotouge’s original concept, recasting familiar characters as students and teachers. VIZ’s first English volume appeared on December 12, 2023, with episodes involving examinations, classroom discipline, and Uzui’s art lessons. (books.shueisha.co.jp)\n\nThe video games adapt the anime through distinct play formats. The Hinokami Chronicles, released in the West on October 15, 2021, combines a story-based adventure mode with arena battles against another player locally or online; its narrative adaptation reaches the Mugen Train conflict. CyberConnect2’s sequel, The Hinokami Chronicles 2 (2025), continues Tanjiro’s journey and includes all nine Hashira among its versus-mode characters. These games translate sword techniques and character abilities into directly controlled combat rather than simply presenting animated episodes. (demonslayer-hinokami.sega.com)\n\nSweep the Board! (2024), also developed by CyberConnect2, instead uses a digital board-game structure for one to four players. Anime locations, including Mount Fujikasane and Asakusa, become boards traversed by dice rolls. Daytime turns lead to competitive minigames and the collection of Slayer Coins; at night, the board changes, demons appear, and players cooperate in battles. Tanjiro, Zenitsu, Inosuke, and the Hashira function as selectable pieces, while Nezuko appears in a supporting role at night. The resulting structure rearranges characters and locations into repeatable party-game activities rather than following the story chronologically. (demonslayer-sweeptheboard.sega.com)\n\nLicensed stage adaptations began with a production opening at Tokyo’s Tennōzu Galaxy Theatre on January 18, 2020, scripted and directed by Kenichi Suemitsu. The fifth production, Shūgeki: Katanakaji no Sato, adapted the Swordsmith Village conflict in Tokyo and Hyōgo in April 2025, with script and direction by Tsuneyasu Motoyoshi and music by Shunsuke Wada. The official production credits identify Shueisha’s supervision and a stage-production committee, distinguishing these adaptations from fan performances. Authorized merchandise also transfers the imagery into everyday goods: Uniqlo’s 2020 UT collaborations used manga illustrations and anime designs on shirts, alongside bags and other accessories. Such products reproduce licensed characters and artwork without necessarily adding new narrative material. (famitsu.com)"
},
{
"heading": "Reception, Commercial Performance, and Cultural Reach",
"text": "The manga’s circulation expanded sharply during and after the first television adaptation. Shueisha’s reported total rose from 3.5 million copies in April 2019 to 12 million by the end of September, 100 million on October 2, 2020, and 150 million in February 2021. On July 17, 2025, the publisher announced worldwide circulation exceeding 220 million, comprising 164 million copies in Japan and 56 million overseas, with digital editions included. These are cumulative publishing figures, not counts of individual readers or independently measured retail purchases; despite the expression “copies in print,” the announced aggregate includes electronic copies. Neither circulation nor copies sold represents monetary revenue. Shueisha attributed continued growth after serialization ended to reprints supported by the films’ success, although the figures alone cannot isolate the contribution of any particular adaptation. (us.oricon-group.com)\n\nRetail estimates provide a separate measure of this expansion. Oricon ranked the series first in its 2020 annual manga chart with an estimated 82,345,447 physical volumes sold in Japan, compared with 8,251,058 for second-place Kingdom. The reporting period ran from November 18, 2019, through November 22, 2020, and excluded digital sales. Consequently, this annual estimate should not be added to Shueisha’s cumulative circulation total. Its timing also complicates explanations centered exclusively on Mugen Train: circulation had already reached 100 million two weeks before the film’s October 16, 2020 opening, following the 2019 anime broadcast and the manga’s conclusion in May 2020. (us.oricon-group.com)\n\nThe theatrical adaptations produced distinct box-office milestones. On May 24, 2021, Mugen Train’s distributors reported Japanese ticket revenue of ¥40.01 billion, making it the first film to exceed ¥40 billion in Japan. It had overtaken Spirited Away in December 2020. Later results must be distinguished by date and territory: for the first Infinity Castle film, Aniplex’s November 17, 2025 announcement reported ¥106.4 billion worldwide through November 16, including ¥37.9 billion in Japan. Corresponding admissions were 89.2 million worldwide and 26 million in Japan. These are theatrical grosses and admissions, respectively—not franchise revenue, profit, or necessarily unique spectators. (thejakartapost.com)\n\nCritical responses to the manga differed over its execution. Reviewing the first English-language volume in 2018, Anime News Network’s Rebecca Silverman awarded it B−, praising its characters and premise while criticizing pacing and uneven drawing; she nevertheless singled out clothing details that communicated the siblings’ impoverished but affectionate home life. By contrast, Leroy Douresseaux of Comic Book Bin rated the same volume 9/10, praising uncluttered compositions, straightforward exposition, and Tanjiro’s immediately understandable emotional motivation. The disagreement concerned how effectively the opening volume presented its material, rather than whether its central family relationship supplied a recognizable narrative purpose. (en.wikipedia.org)\n\nAssessments of the adaptation placed greater emphasis on audiovisual presentation. In an October 2020 SlashFilm appraisal, Rafael Motamayor acknowledged its conventional battle-shōnen structure but argued that compassion, the siblings’ mutual support, and efficient treatment of familiar training conventions distinguished it. He particularly praised the combination of drawn animation and computer-generated environments, dynamic combat camerawork, and episode 19’s integration of action, sound, music, and emotional development. This appraisal therefore credited the adaptation’s execution without claiming that its underlying genre framework was unprecedented. (slashfilm.com)\n\nInstitutional recognition accompanied measurable international distribution. The manga won the comic-category Grand Prize at the 50th Japan Cartoonists Association Awards in 2021. Mugen Train received Animation of the Year at the 44th Japan Academy Film Prize, while the first Infinity Castle film won the equivalent award at the 49th ceremony on March 13, 2026. International reach was also documented through theatrical exhibition: the Asian Film Awards Academy reported in October 2021 that Mugen Train had opened in more than 70 countries and regions, and awarded it its 2020 Highest-Grossing Asian Film distinction. Such records establish distribution breadth and specific forms of recognition, rather than an unmeasured claim of permanent cultural influence. (crunchyroll.com)"
}
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"manga",
"japan",
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"sources": [
{
"title": "吾峠呼世晴短編集／吾峠呼世晴 | 集英社",
"url": "https://www.shueisha.co.jp/books/items/contents_amp.html?jdcn=08882084882084315501"
},
{
"title": "吾峠呼世晴 | 集英社オンライン",
"url": "https://shueisha.online/list/persons/65aa14df8ce1159272000653"
},
{
"title": "MANGA Plus | Interviewing editors: The Making of a Jump Manga! vol.5 Demon Slayer: Kimetsu no Yaiba",
"url": "https://mangaplus.shueisha.co.jp/web_pages/234/"
},
{
"title": "『鬼滅の刃』大ブレイクの陰にあった、絶え間ない努力――初代担当編集が明かす誕生秘話",
"url": "https://news.livedoor.com/article/detail/17760339/"
},
{
"title": "List of Demon Slayer: Kimetsu no Yaiba chapters",
"url": "https://en.wikipedia.org/wiki/List_of_Demon_Slayer%3A_Kimetsu_no_Yaiba_chapters"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba",
"url": "https://en.wikipedia.org/wiki/Demon_Slayer%3A_Kimetsu_no_Yaiba"
},
{
"title": "鬼滅の刃 23／吾峠 呼世晴",
"url": "https://www.shueisha.co.jp/books/items/contents.html?isbn=978-4-08-882495-6&mobile-app=true&theme=false%29"
},
{
"title": "「鬼滅の刃」公式サイト │ 集英社",
"url": "https://kimetsu.com/comics/news/?article_id=55749"
},
{
"title": "VIZ — Demon Slayer: Kimetsu no Yaiba, Vol. 1",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-no-yaiba-volume-1/product/5547"
},
{
"title": "VIZ — Demon Slayer: Kimetsu no Yaiba, Vol. 23",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-no-yaiba-volume-23/product/6761"
},
{
"title": "VIZ — New Shonen Jump Simul Series!",
"url": "https://www.viz.com/blog/posts/new-shonen-jump-simul-series"
},
{
"title": "Taishō period — Saint Louis Art Museum",
"url": "https://www.slam.org/collection/constituents/16082/"
},
{
"title": "Episode 8: The Smell of Enchanting Blood",
"url": "https://demonslayer-anime.com/risshihen/story/08.html"
},
{
"title": "STORY — Demon Slayer: Kimetsu No Yaiba The Movie MUGEN TRAIN",
"url": "https://demonslayer-anime.com/mugentrain/story/"
},
{
"title": "List of Demon Slayer: Kimetsu no Yaiba characters",
"url": "https://en.wikipedia.org/wiki/List_of_Demon_Slayer%3A_Kimetsu_no_Yaiba_characters"
},
{
"title": "CHARACTER — Hashira Training Arc",
"url": "https://demonslayer-anime.com/hta/character/"
},
{
"title": "日本神話と太陽に関する研究",
"url": "https://www.taiwanjapanese.url.tw/GAKUHO/37.files/37_B08.pdf"
},
{
"title": "Episode 4: Final Selection",
"url": "https://demonslayer-anime.com/risshihen/story/04.html"
},
{
"title": "Episode 5: My Own Steel",
"url": "https://demonslayer-anime.com/risshihen/story/05.html"
},
{
"title": "Tanjiro Kamado — Official Character Profile",
"url": "https://demonslayer-anime.com/risshihen/character/?chara=tanjiro"
},
{
"title": "CHARACTER — Demon Slayer: Kimetsu no Yaiba The Movie Mugen Train",
"url": "https://demonslayer-anime.com/mugentrain/character/"
},
{
"title": "Episode 22: Master of the Mansion",
"url": "https://demonslayer-anime.com/risshihen/story/22.html"
},
{
"title": "Episode 23: Hashira Meeting",
"url": "https://demonslayer-anime.com/risshihen/story/23.html"
},
{
"title": "Muzan Kibutsuji — Official Character Profile",
"url": "https://demonslayer-anime.com/risshihen/character/?chara=muzan"
},
{
"title": "The Demons of Demon Slayer: Kimetsu no Yaiba (Updated)",
"url": "https://www.crunchyroll.com/news/guides/2023/8/27/demons-slayer-demons"
},
{
"title": "Tamayo — Official Character Profile",
"url": "https://demonslayer-anime.com/risshihen/character/?chara=tamayo"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba — Episode 20",
"url": "https://demonslayer-anime.com/risshihen/story/20.html"
},
{
"title": "VIZ: Demon Slayer: Kimetsu no Yaiba, Vol. 6",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-no-yaiba-volume-6/product/5892"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train",
"url": "https://en.wikipedia.org/wiki/Demon_Slayer%3A_Kimetsu_no_Yaiba_%E2%80%93_The_Movie%3A_Mugen_Train"
},
{
"title": "Entertainment District Arc — Episode 11",
"url": "https://demonslayer-anime.com/eda/story/"
},
{
"title": "Swordsmith Village Arc — Episode 11",
"url": "https://demonslayer-anime.com/sva/story/"
},
{
"title": "VIZ: The Finale of a Phenomenon!",
"url": "https://www.viz.com/blog/posts/the-finale-of-a-phenomenon"
},
{
"title": "Demon Slayer ending explained: What happens—and who survives—in the manga’s finale?",
"url": "https://www.thepopverse.com/demon-slayer-ending-explained-epilogue-shonen-jump-tanjiro-nezuko-zenitsu-muzan"
},
{
"title": "Demon Slayer: What Happens in the Manga’s Extended Finale?",
"url": "https://comicbook.com/anime/news/demon-slayer-ending-extended-finale-what-happens-explained-spoilers/"
},
{
"title": "Demon Slayer: Kimetsu No Yaiba Swordsmith Village Arc—Characters",
"url": "https://demonslayer-anime.com/sva/character/"
},
{
"title": "Episode 18: A Forged Bond",
"url": "https://demonslayer-anime.com/risshihen/story/18.html"
},
{
"title": "Episode 21: Against Corps Rules",
"url": "https://demonslayer-anime.com/risshihen/story/21.html"
},
{
"title": "VIZ—Demon Slayer: Kimetsu no Yaiba, Vol. 21",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-no-yaiba-volume-21-0/product/6628/paperback"
},
{
"title": "FEATURE: Creature Comforts! Exploring Demon Slayer's Surprising Menagerie",
"url": "https://www.crunchyroll.com/news/features/2021/2/9/feature-creature-comforts-exploring-demon-slayers-surprising-menagerie"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Vol. 11 Review",
"url": "https://aiptcomics.com/2020/03/04/demon-slayer-kimetsu-no-yaiba-vol-11-review/"
},
{
"title": "Aniplex of America Adds Demon Slayer: Kimetsu no Yaiba to Spring Anime Line Up on Hulu, Crunchyroll, and FunimationNow",
"url": "https://aniplexusa.com/pdf/PR_040219_DemonSlayer.pdf"
},
{
"title": "STAFF/CAST — Hashira Training Arc",
"url": "https://demonslayer-anime.com/hta/staffcast/"
},
{
"title": "アニメ「鬼滅の刃」四周年記念関連情報",
"url": "https://kimetsu.com/news/?id=62812"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Mugen Train Arc and Entertainment District Arc Announcement",
"url": "https://demonslayer-anime.com/sva/news/?id=58775"
},
{
"title": "イントロダクション — テレビアニメ「鬼滅の刃」無限列車編",
"url": "https://kimetsu.com/anime/mugenresshahen_tv/intro/"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Swordsmith Village Arc Anime: Here's When it Releases on Crunchyroll",
"url": "https://www.crunchyroll.com/news/latest/2023/4/7/demon-slayer-kimetsu-no-yaiba-swordsmith-village-arc-anime-release-date-crunchyroll"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Hashira Training Arc Coming to Crunchyroll on May 12",
"url": "https://demonslayer-anime.com/sva/news/?id=65277"
},
{
"title": "放送・配信情報 — テレビアニメ「鬼滅の刃」柱稽古編",
"url": "https://kimetsu.com/anime/hashirageikohen/onair/"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Infinity Castle Staff on the Series’ Climax and Working as One",
"url": "https://www.crunchyroll.com/zh-tw/news/interviews/2025/7/27/demon-slayer-kimetsu-no-yaiba-infinity-castle-staff-interview-climax-and-working-as-one"
},
{
"title": "Blu-ray — Demon Slayer: Kimetsu no Yaiba",
"url": "https://demonslayer-anime.com/risshihen/blu-ray/"
},
{
"title": "Demon Slayer Movie Box Office Opening Press Release",
"url": "https://aniplexusa.com/pdf/PR_042621_DSKY.pdf"
},
{
"title": "About TV Animation “Demon Slayer: Kimetsu no Yaiba”",
"url": "https://www.takaratomy.co.jp/english/product_release/pdf/p210510_en.pdf"
},
{
"title": "INTRODUCTION — To the Swordsmith Village",
"url": "https://demonslayer-anime.com/worldtour2023/introduction/"
},
{
"title": "2月3日(金)より 入場者特典「上弦集結本」配布決定！",
"url": "https://kimetsu.com/anime//news/?id=62168"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba -To the Swordsmith Village- World Tour!",
"url": "https://demonslayer-anime.com/news/?id=62106"
},
{
"title": "INTRODUCTION — To the Hashira Training",
"url": "https://demonslayer-anime.com/worldtour2024/introduction/"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba - To the Hashira Training Anime Debuts at #2 in US Box Office",
"url": "https://www.crunchyroll.com/news/latest/2024/2/26/demon-slayer-kimetsu-no-yaiba-to-the-hashira-training-us-box-office"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Infinity Castle Movie Trilogy Announced",
"url": "https://www.crunchyroll.com/news/announcements/2024/6/30/demon-slayer-kimetsu-no-yaiba-infinity-castle-movie-trilogy-crunchyroll"
},
{
"title": "イントロダクション — 劇場版「鬼滅の刃」無限城編 第一章 猗窩座再来",
"url": "https://kimetsu.com/anime/mugenjyohen_movie//intro/"
},
{
"title": "Demon Slayer: Kimetsu no Yaiba Infinity Castle International Release Dates Announced!",
"url": "https://demonslayer-anime.com/news/?id=67298"
},
{
"title": "『鬼滅の刃』音楽担当の椎名豪が語るアニメの音楽「物語に入り込むための踏切板みたいなものになれば」【インタビュー】",
"url": "https://cho-animedia.jp/article/2019/06/21/12914.html"
},
{
"title": "音楽：「竈門炭治郎のうた」",
"url": "https://kimetsu.com/anime/risshihen/music/?page=sounyuuka"
},
{
"title": "音楽：「紅蓮華」",
"url": "https://kimetsu.com/anime/risshihen/music/"
},
{
"title": "音楽：「from the edge」",
"url": "https://kimetsu.com/anime/risshihen/music/?page=ending"
},
{
"title": "「鬼滅の刃 無限列車編」感動を誘う“音楽の仕掛け”とは？ LiSA「炎」誕生秘話も 梶浦由記×椎名豪【インタビュー】",
"url": "https://animeanime.jp/article/2020/11/13/57606.html?pickup_list_click1=true"
},
{
"title": "REVIEW: ‘Demon Slayer To The Harisha Training’ Is A Deserved Theatrical Experience",
"url": "https://butwhytho.net/2024/02/demon-slayer-to-the-hashira-training-arc-review/"
},
{
"title": "TVアニメ「鬼滅の刃」竈門炭治郎 立志編 オリジナルサウンドトラック発売決定",
"url": "https://kimetsu.com/anime//news/?id=56480"
},
{
"title": "2022年12月14日（水）『「鬼滅の刃」無限列車編 オリジナルサウンドトラック』発売決定！",
"url": "https://kimetsu.com/anime//news/?id=61729"
},
{
"title": "第62回日本レコード大賞",
"url": "https://www.jacompa.or.jp/record/62.php"
},
{
"title": "LiSA、「炎」が米ビルボード・グローバル・チャートTOP10入り",
"url": "https://www.billboard-japan.com/d_news/detail/93662/2"
},
{
"title": "VIZ: Demon Slayer: Kimetsu no Yaiba—Stories of Water and Flame",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-no-yaiba/product/6921"
},
{
"title": "鬼滅の刃 しあわせの花",
"url": "https://www.shueisha.co.jp/books/items/contents.html?jdcn=08703473010570000000"
},
{
"title": "VIZ: Demon Slayer: The Light Novel",
"url": "https://www.viz.com/blog/posts/demon-slayer-the-light-novel"
},
{
"title": "鬼滅の刃公式ファンブック 鬼殺隊見聞録",
"url": "https://books.shueisha.co.jp/items/contents.html?isbn=978-4-08-882043-9&mode=1"
},
{
"title": "集英社：鬼滅の刃公式ファンブック検索結果",
"url": "https://www.shueisha.co.jp/books/search/search.html?order=1&seriesid=68815"
},
{
"title": "『鬼滅の刃』吾峠呼世晴画集―幾星霜―",
"url": "https://books.shueisha.co.jp/items/contents.html?isbn=978-4-08-792587-6&usqp=mq331AQQKAGYAZOoiZSyh8vHPrABIA%3D%3D"
},
{
"title": "VIZ: Demon Slayer: Kimetsu Academy, Vol. 1",
"url": "https://www.viz.com/manga-books/manga/demon-slayer-kimetsu-academy-volume-1/product/7664/paperback"
},
{
"title": "Demon Slayer -Kimetsu no Yaiba- The Hinokami Chronicles",
"url": "https://demonslayer-hinokami.sega.com/?trk=public_profile_project-button"
},
{
"title": "Demon Slayer -Kimetsu no Yaiba- The Hinokami Chronicles 2",
"url": "https://asia.sega.com/kimetsu_hinokami2/en/"
},
{
"title": "Demon Slayer -Kimetsu no Yaiba- Sweep the Board!",
"url": "https://asia.sega.com/kimetsu_board/en/"
},
{
"title": "Demon Slayer -Kimetsu no Yaiba- Sweep The Board",
"url": "https://demonslayer-sweeptheboard.sega.com/?lang=uk"
},
{
"title": "舞台『鬼滅の刃』本日開幕",
"url": "https://www.famitsu.com/news/202001/18190961.html"
},
{
"title": "ORICON: Demon Slayer Destroys Manga Records as Top Selling Manga of 2020, One Piece Comes in at 3rd",
"url": "https://www.crunchyroll.com/news/latest/2020/11/29/oricon-demon-slayer-destroys-manga-records-as-top-selling-manga-of-2020-one-piece-comes-in-at-3rd"
},
{
"title": "“Demon Slayer” 1st Japanese film to top 40 billion yen at box office",
"url": "https://www.thejakartapost.com/life/2021/05/24/demon-slayer-1st-japanese-film-to-top-40-billion-yen-at-box-office"
},
{
"title": "“Demon Slayer: Infinity Castle” Global Box Office Tops ¥100 Billion",
"url": "https://www.nippon.com/en/news/l00372/"
},
{
"title": "Demon Slayer: Kimetsu No Yaiba Volume 1 manga review",
"url": "https://www.comicbookbin.com/demonslayer001.html"
},
{
"title": "'Demon Slayer' Is A Visually Remarkable Action Anime About Not Losing Your Humanity, And Also Killing Monsters",
"url": "https://www.slashfilm.com/577368/demon-slayer/"
},
{
"title": "Demon Slayer Manga Wins Grand Prize in The 50th Japan Cartoonists Association Awards",
"url": "https://www.crunchyroll.com/news/latest/2021/7/26/demon-slayer-manga-wins-grand-prize-in-the-50th-japan-cartoonists-association-awards"
},
{
"title": "第44回 日本アカデミー賞 最優秀賞一覧",
"url": "https://japan-academy-prize.jp/sp/prizes/44.html"
},
{
"title": "日本アカデミー賞公式サイト",
"url": "https://www.japan-academy-prize.jp/prizes/"
},
{
"title": "15th Asian Film Awards Announces Two Special Awards",
"url": "https://2021.tiff-jp.net/news/en/?p=16551"
}
],
"license": "https://creativecommons.org/licenses/by/4.0/"
}