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(December 9, 2016). "新海誠監督作品 君の名は。 Pamphlet vol. 2 Collection of interviews" (Interview) (in Japanese). 東宝株式会社映像事業部. ^ a b @shinkaimakoto (September 2, 2016). "テッシーとサヤちんの造形は、おっしゃる通り拙作『小説 言の葉の庭』7話からの発想でした。『君の名は。』と『言の葉の庭』の間に大きなジャンプがあるとのご意見もよくいただきますが、僕としては『小説 言の葉の庭』がその間をつないでいます。 https://twitter.

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Crunchyroll noted that the series have a heavy focus on Buddhism and the demons that threaten society often resulting in violence in most episodes with the heroic Hyakkimaru standing out as under complicated socio-political stakes with Daigo's devotion towards the demons representing the shifts in changing Buddhist attitudes toward these entities. [17] Anime News Network noted that there is the ideas involving the damage of the Onin War as the anime often addressed victims of wars regardless of age and poverty is common in villagers. The idea of yokai predated the arrival of Buddhism into Japan, but like how later Japanese Emperors were both high Shinto priests and devoted Buddhist practitioners, belief in yokai and adherence to the buddhas were never mutually exclusive. Although Daigo offers his son to the yokais, Buddhism still saves the recently born child from a dark fate with the first episode showing a Boddhisattva Kannon statue losing its head when Hyakkimaru is saved from being eaten. [18] Tor. com compared Hyakkimaru's life with the narratives created by Ursula K. Le Guin in regards to how Daigo uses his body as part of the bargain to obtain prosperity for his land. Although Hyakkimaru's quest to recover his body might give chaos back to the world, he is unwilling to be a guinea pig anymore as he expresses his desire to stop living in pain, something that clashes with the comments of other people close to him like Jukai who fears his adoptive son's being devoted to violence or Dororo because he is a victim of war. The website further compared the tragic world of Dororo with Le Guin's The Ones Who Walk Away from Omelas. Across both stories, the cast of the series express regrets in their choices which led to Hyakkimaru's chaotic life, giving the message that children should also express themselves. [19] Biggest in Japan considered Hyakkimaru's journey as an inversion from the hero's journey, rather than becoming a stronger person, he instead becomes weaker due to fighting with a more common body, and like other writers, cited his tragic story with Mio and friendship with as one of the series' biggest strengths as they further change the main character's personality. New York, NY: Palgrave Macmillan. ISBN 978-1-137-35567-6. Schodt, Frederik L. (August 18, 1997). Manga! Manga!: The World of Japanese Comics (Reprint ed. ). Berkeley, California: Stone Bridge Press. pp. 31–32. ISBN 1880656531. ^ Sevakis, Justin (January 1, 1999).