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Archived from the original on January 15, 2007. Retrieved January 13, 2007. ^ Loo, Egan (May 3, 2007). "Viz to Offer Death Note Downloads via Direct2Drive". Anime News Network. Archived from the original on May 9, 2007. Retrieved May 4, 2007. ^ Dong, Bamboo (February 24, 2007). "New York ComicCon 2007 – Viz Media – Anime". Anime News Network. Archived from the original on February 27, 2007.

^ Morrissy, Kim (May 8, 2020). "Demon Slayer: Kimetsu no Yaiba Novel Ranks in Top 10 Books Chosen By Elementary School Students". Anime News Network. Archived from the original on May 12, 2020. Retrieved May 8, 2020. External links Official website (in Japanese) Demon Slayer: Kimetsu no Yaiba official manga website at Weekly Shōnen Jump (in Japanese) Demon Slayer: Kimetsu no Yaiba official manga English website at Viz Media Demon Slayer: Kimetsu no Yaiba (manga) at Anime News Network's encyclopedia vteDemon Slayer: Kimetsu no Yaiba by Koyoharu GotougeMediaManga Chapters Anime Episodes Season 1 2 3 Films Mugen Train Swordsmith Village Hashira Training Video games The Hinokami Chronicles Characters Tanjiro Kamado Nezuko Kamado Music "Gurenge" "Kamado Tanjiro no Uta" "Homura" "Akeboshi" "Kizuna no Kiseki" "Koi Kogare" Related Koyoharu Gotouge Before Demon Slayer: Kimetsu no Yaiba vteWeekly Shōnen Jump: 2010–20192010 Oumagadoki Zoo Enigma 2011 Magico St&rs Nisekoi 2012 Haikyu!! Saiki Kusuo no Sai-nan Barrage Assassination Classroom Cross Manage Shinmai Fukei Kiruko-san Food Wars!: Shokugeki no Soma 2013 World Trigger Jaco the Galactic Patrolman Isobe Isobē Monogatari 2014 Hinomaru Sumo My Hero Academia School Judgment: Gakkyu Hotei 2015 Black Clover Naruto: The Seventh Hokage and the Scarlet Spring Straighten Up! Welcome to Shika High's Competitive Dance Club 2016 Yuuna and the Haunted Hot Springs Demon Slayer: Kimetsu no Yaiba Boruto: Naruto Next Generations The Promised Neverland 2017 We Never Learn Dr. Stone Robot × LaserBeam 2018 Act-Age Jujutsu Kaisen I'm From Japan Teenage Renaissance! David The Comiq Chainsaw Man 2019 Yui Kamio Lets Loose Samurai 8: The Tale of Hachimaru Mission: Yozakura Family Mitama Security Dr. Stone Reboot: Byakuya Agravity Boys 1968–19791980–19891990–19992000–20092010–20192020–present vteTezuka Osamu Cultural PrizeGrand Prize1990s Fujiko Fujio for Doraemon (1997) Jiro Taniguchi and Natsuo Sekikawa for the trilogy Bocchan No Jidai (1998) Naoki Urasawa for Monster (1999) 2000s Daijiro Morohoshi for Saiyū Yōenden (2000) Reiko Okano and Baku Yumemakura for Onmyōji (2001) Takehiko Inoue for Vagabond (2002) Fumiko Takano for The Yellow Book: A Friend Named Jacques Thibault (2003) Kyoko Okazaki for Helter Skelter (2004) Naoki Urasawa for Pluto (2005) Hideo Azuma for Disappearance Diary (2006) Ryoko Yamagishi for Terpsichora (2007) Masayuki Ishikawa for Moyashimon (2008) Fumi Yoshinaga for Ōoku: The Inner Chambers and Yoshihiro Tatsumi for A Drifting Life (2009) 2010s Yoshihiro Yamada for Hyouge Mono (2010) Motoka Murakami for Jin and Issei Eifuku and Taiyō Matsumoto for Takemitsuzamurai (2011) Hitoshi Iwaaki for Historie (2012) Yasuhisa Hara for Kingdom (2013) Chica Umino for March Comes in like a Lion (2014) Yoiko Hoshi for Aisawa Riku (2015) Kei Ichinoseki for Hanagami Sharaku and Kiyohiko Azuma for Yotsuba&! (2016) Fusako Kuramochi for Hana ni Somu (2017) Satoru Noda for Golden Kamuy (2018) Shinobu Arima for Jitterbug The Forties (2019) 2020s Kan Takahama for Nyx no Lantern (2020) Kazumi Yamashita for Land (2021) Uoto for Orb: On the Movements of the Earth (2022) Kiwa Irie for Yuria-sensei no Akai Ito (2023) Special
Award1990s Toshio Naiki (1997) Shotaro Ishinomori (1998) Fusanosuke Natsume (1999) 2000s Frederik L. Schodt (2000) Akira Maruyuma (2001) Shigeru Mizuki (2003) Tarō Minamoto (2004) Kawasaki City Museum (2005) Kousei Ono (2006) International Institute for Children's Literature, Osaka Prefecture (2008) 2010s Yoshihiro Yonezawa (2010) Weekly Shōnen Jump (2012) Fujiko Fujio (A) (2014) Chikako Mitsuhashi for Chiisana Koi no Monogatari (2015) Kyoto International Manga Museum (2016) Osamu Akimoto for Kochira Katsushika-ku Kameari Kōen-mae Hashutsujo (2017) Tetsuya Chiba for Ashita no Joe (2018) Takao Saito for Golgo 13 (2019) 2020s Machiko Hasegawa for Sazae-san (2020) Koyoharu Gotouge for Demon Slayer: Kimetsu no Yaiba (2021) Kazuo Umezu for Zoku Shingo: Chiisana Robot Shingo Bijutsukan (2023) Award for
Excellence Moto Hagio for A Cruel God Reigns (1997) Yūji Aoki for Naniwa Kin'yūdō (1998) Akira Sasō for Shindō (1999) Minetarō Mochizuki for Dragon Head (2000) Kotobuki Shiriagari for Yajikita in Deep (2001) Kentaro Miura for Berserk (2002) Creative
Award Yumi Hotta and Takeshi Obata for Hikaru no Go (2003) Takashi Morimoto for Naniwadora ihon (2004) Fumiyo Kōno for Town of Evening Calm, Country of Cherry Blossoms (2005) Asa Higuchi for Big Windup! (2006) Nobuhisa Nozoe, Kazuhisa Iwata and Kyojin Ōnishi for Shinsei Kigeki (2007) Toranosuke Shimada for Träumerei (2008) New Artist
Prize Suehiro Maruo for The Strange Tale of Panorama Island (2009) Haruko Ichikawa for Mushi to Uta (2010) Hiromu Arakawa for Fullmetal Alchemist (2011) Yu Itō for Shut Hell (2012) Miki Yamamoto for Sunny Sunny Ann! (2013) Machiko Kyō for Mitsuami no Kami-sama (2014) Yoshitoki Ōima for A Silent Voice (2015) Yuki Andō for Machida-kun no Sekai (2016) Haruko Kumota for Descending Stories: Showa Genroku Rakugo Shinju (2017) Paru Itagaki for Beastars (2018) Sansuke Yamada for Areyo Hoshikuzu (2019) Rettō Tajima for Mizu wa Umi ni Mukatte Nagareru (2020) Kanehito Yamada and Tsukasa Abe for Frieren (2021) Natsuko Taniguchi for Kyōshitsu no Katasumi de Seishun wa Hajimaru and Konya Sukiyaki da yo (2022) Ganpu for Danchōtei Nichijō (2023) Short Story
Award Hisaichi Ishii for Gendai Shisō no Sōnanshātachi (2003) Risu Akizuki for OL Shinkaron (2004) Rieko Saibara for Jōkyō Monogatari and Mainichi Kaasan (2005) Risa Itō for One Woman, Two Cats, Hey Pitan!, Onna no Mado (2006) Hiromi Morishita for Ōsaka Hamlet (2007) Yumiko Ōshima for Cher Gou-Gou.

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Natasha, Inc. January 20, 2020. Archived from the original on June 6, 2021. Retrieved June 14, 2020. ^ アンデッドアンラック 1 (in Japanese). Shueisha. Archived from the original on November 13, 2022. Retrieved November 13, 2022. ^ キャプテン翼 海外激闘編 日いづる国のジョカトーレ (上) (in Japanese). Shueisha. Archived from the original on April 25, 2018. *
With the exception of One Punch Man Season 2, Dororo is probably the most deflating anime I’ve seen so far in 2019. That’s honestly a real shame cuz on top of being a popular retelling of an anime from the ’60s, it's a 2000s samurai anime displaced in time. Furthermore, one of the main protagonists fights demons and samurai with swords for limbs! That sounds pretty cool, doesn’t it? Then halfway through the show, you realize . the cool moments are rendered moot and surrounded by mediocrity. Even worse, the show lost a lot of stream after peaking early on, causing the second half to become especially bothersome given the lackluster writing that permeates it.
If nothing else, Dororo makes for a generally well-produced spectacle of samurai battles and bloodbaths. Even outside of the fight scenes, there are some incredibly well-animated sequences, like whenever demonic lightning would flash or when people or demons were burnt to ashes. At their best, the battles are crisp, fluid, and decently choreographed, with lots of sakuga moments where characters clash blades and get hacked to pieces. At their worst, they’re short, barely animated, and often replaced by animation shortcuts like static character portraits flashing in one after another, or slash marks on a black screen being followed up by a lack of anything satisfying, juicy, or vivid.
[60] After seeing the reactions of the audience after a screening of the film at Festival « Pour éveiller les regards », Jean-Jacques Varret, head of Les Films du Paradoxe, knew he had to distribute it in France. [61] It was released in two Parisian arthouses and the reaction was modest. Following the release however, Les Films du Paradoxe chose to release the film on video cassettes and on the streaming service Canal+. [61][62] Public reactions[edit] After the international release, it has been noted that different audiences have interpreted the film differently due to differences in culture. For instance, when the film was watched by a Japanese audience, Seita's decision to not come back to his aunt was seen as an understandable decision, as they were able to understand how Seita had been raised to value pride in himself and his country. Conversely, American and Australian audiences were more likely to perceive the decision as unwise.