Tanjiro's story works – the manga proved it – but it does so because it moves on to the next thing quickly. There's still drama, but the story is not deep enough to support the formula of fights that reach a climax before revealing the villain is still alive and in a new form. 90% of the season is dedicated to Upper Four and Upper Five, going back and forth between the two, and only stopping for repetitive flashbacks involvingthe new side characters. Ufotable continues to do great work, particularly in the effects, which turn even the most simple swing of a sword into a pivotal moment of triumph.īut after 15 pivotal moments of triumph that lead nowhere – because the fight has to continue – some of the impact is lost. Granted, there is some stunning imagery in the face-off against the Upper Four and Upper Five, particularly the Love Hashira's ribbon-like sword and Genya Shinazugawa blowing out heads with a demon-slaying gun. Back in the '90s and early '00s, we had a word for this – "filler" – and it was considered the death of anime creativity.Īfter a double-sized premiere episode that separated our kindhearted protagonist Tanjiro from his annoyingly funny friends and sent him off to craftsmanship town, the rest of the season is essentially dedicated to a single overly long fight. By turning every small moment "epic," ufotable reduces the anime to a repetitive, boring drag. In an attempt to deliver internet-breaking moments like this all the time, the third season of Demon Slayer overrelies on sweeping camera angles and lavish backgrounds. This culminated the global phenomenon of episode 19, with its dazzling use of color, fantastic action choreography, and a rather emotionally charged song by Go Shiina featuring Nami Nakagawa. The first season made some effective adaptation choices, expanding on what the manga's story barely hinted at, making every small moment feel epic and hugely important.
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