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Ranking first in the national mock exam and aiming for a distinguished high school, he is certain that he has his whole life mapped out. However, fate is a fickle mistress. On his way home one snowy evening, Nasa's eyes fall upon a peerless beauty across the street. Bewitched, Nasa tries to approach her—only to get blindsided by an oncoming truck. Thankfully, his life is spared due to the girl's swift action. Bleeding by the side of an ambulance, he watches as the girl walks away under the moonlight—reminiscent of Princess Kaguya leaving for the moon.

He takes Kotetsu with him to find the swordsmiths. Meanwhile, Tanjiro determines that each of the four demons represents an emotion: joy (Urogi), anger (Sekido), pleasure (Karaku), and sorrow (Aizetsu). Genya confuses Sekido and Aizetsu with his inhuman resistance to normally fatal wounds. Nezuko burns Karaku and uses his own uchiwa against him, blasting him away. Sekido immobilizes Nezuko by shocking her in place with his khakkhara. Tanjiro uses Urogi to reach Nezuko and Genya and avoids Sekido's attacks by using Urogi's foot, which cannot conduct the electricity from his khakkhara as they share the same cells. Tanjiro frees Nezuko but both are incapacitated when Karaku pins them with a blast from his uchiwa. More fish demons attack the village as Mitsuri makes her way to rescue the swordsmiths. 495"Bright Red Sword"
Transliteration: "Kakutō" (Japanese: 赫刀)Takuya NonakaTakuya NonakaMay 7, 2023 (2023-05-07)7. 2% After saving Kozo from a fish demon, Muichiro is taken to his work shed for a new blade, but they encounter a waiting Gyokko. Mitsuri arrives at the village, using her elongated, whip-like sword to swiftly defeat the attacking fish demons.

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Yet in all that time focusing on him, most of the ensemble gets left out in the lurch. The “Greek chorus,” or the series of women who serve under Cid in Shadow Garden, are the prime example. They are caricatures rather than characters, a harem in principle and occasional sexual connotation, though not with Cid himself. No chance is given to develop many of them into substantial beings—they don’t even get names beyond Greek letter designations, hence why I referred to them as “Greek chorus” before—because the show’s structure deemphasizes their own relevance. Throughout most of the story, they appear for brief moments and then vanish for long stretches of time, and their contributions to Cid’s shadowy operations do little more than deliver messages or background information. There’s a bizarre fixation on several of them being either competitive, protective, or envious of other members’ breasts. Even when they fight, the moments themselves do barely enough to give the women a sense of dimension.