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Beyond the Battle: Historical, Religio-Philosophical, and Literary Beyond the Battle: Historical, Religio-Philosophical, and Literary
Depths of Demon Slayer: Mugen Train Depths of Demon Slayer: Mugen Train
Ronald S. Green
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Ronald S. Green
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Beyond the Battle: Historical, Religio-Philosophical, and
Literary Depths of Demon Slayer: Mugen Train
Ronald S. Green
Introduction
Demon Slayer: Mugen Train (Koyoharu Got
oge, 2020) was the highest-gross-
ing film of 2020 as well as the highest-grossing anime and Japanese film of all
time, replacing Hideo Miyazaki’s Spirited Away that had been in the latter
position since 2001.
1
The movie is a part of the Demon Slayer: Kimetsu no
Yaiba manga and anime series, written and illustrated by Koyoharu Got
oge
(1989–). The series debuted in 2016 and quickly rose to prominence to
become a significant cultural phenomenon both in Japan and internationally.
It is renowned for its compelling storytelling, distinctive art style, and deep
emotional impact. The story follows Tanjiro Kamado, a young boy who
becomes a demon slayer after all of his family is slaughtered by demons except
his sister Nezuko, who is turned into one. The series combines elements of
action, drama, and historical fantasy set in Japan’s Taish
o era (1912–1926).
In the first season of the Demon Slayer series that lays the groundwork
for the movie, we are introduced to the poignant and turbulent journey of
Tanjiro Kamado. The story begins in tragedy, with the devastating loss of
his family, an event that profoundly shapes his path and fuels his determin-
ation to fight demons. Among the carnage, Tanjiro discovers that his sister,
Nezuko, is still alive but has been transformed into a demon. Remarkably,
Nezuko retains remnants of her human emotions and consciousness, a
duality that becomes a focal point of the narrative. In order to shield her
from painful daylight and those who would hope to destroy her, Tanjiro
carries her in a wooden box on his back, a constant reminder and symbol
of the weighty responsibility he bears.
Tanjiro’s quest leads him to the Hashira, elite members of the Demon
Slayer Corps, a secret society not officially recognized by the government.
Ronald S. Green is Professor and Chair of Philosophy and Religious Studies at Coastal Carolina University. He
holds a PhD in Buddhist Studies from the University of Wisconsin-Madison and specializes in Buddhism and film,
East Asian religious traditions, and ethnographic approaches to religion. He is the author of Buddhism Goes to
the Movies (Routledge, 2014) and numerous articles exploring representations of Buddhism in cinema.
� 2025 The Author(s). Published with license by Taylor & Francis Group, LLC
This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial License (http://
creativecommons.org/licenses/by-nc/4.0/), which permits unrestricted non-commercial use, distribution, and reproduction in any
medium, provided the original work is properly cited. The terms on which this article has been published allow the posting of
the Accepted Manuscript in a repository by the author(s) or with their consent.
QUARTERLY REVIEW OF FILM AND VIDEO
https://doi.org/10.1080/10509208.2025.2480918
These formidable warriors stand as pillars in the battle against demonic
forces, and their skill and strength are unrivaled. Tanjiro emerges as a
young and determined demon slayer, driven by a deep desire to find a cure
for his sister and restore her humanity.
The creative mind behind this compelling narrative is Koyoharu Got
oge,
whose talent and vision brought the Demon Slayer manga series critical
acclaim. Got
oge’s storytelling weaves a rich tapestry that resonates deeply with
its audience, setting a solid foundation for the anime adaptation. While specif-
ics about the artist were at first intentionally obscured to her mostly young
male audience, as the series’ fame grew rapidly, her gender became known.
The series is set in the Taish
o period in Japan, as reflected in the characters’
surprise at modernization, including their introduction to a train. The uni-
forms they wear blend historical elements from the early 20th century with
fantastical influences, creating a visually rich and immersive setting that trans-
ports viewers back in time while keeping them anchored in the story’s fantas-
tical world. This historical context adds another layer of depth to Demon
Slayer, marrying the past with the present in a narrative full of emotion, action,
and the relentless pursuit of hope against evil forces increasing in the world.
Before Demon Slayer, Got
oge created a one-shot manga, a standalone
volume that tells a complete story, called Kagarigari (Shueisha, 2013). The
work is set in Japan between the Meiji and Taish
o eras, and depicts battles
between demons and demon hunters. Like Demon Slayer, it features super-
natural themes and showcases some of the early development of Got
oge’s
art style and storytelling. As a result, it received an Honorable Mention
award at the 70th JUMP Treasure Newcomer Manga Award. Her next
work, Monju Shir
o ky
odai (Shueisha, 2013) was published in Shonen Jump
NEXT!! 2014 vol.2.
2
After that, she produced another one-shot work known
as Ribs-san (Shueisha, 2014) in Weekly Shonen Jump issue 39 in 2014. It
was entered for consideration for the 9th Gold Future Cup award given by
Weekly Shonen Jump for one-shot manga by new manga artists nominated
by the editorial department and voted on by the readers.
After a short publishing slump and on the advice of Tatsuhiko Katayama,
a senior editor of Jump, Got
oge decided to make the main character of the
new series she was envisioning an ordinary person. Tanjiro’s black sword fur-
thers the idea that he is a normal boy with extraordinary determination. In
the world of Demon Slayer, a black sword is considered unlucky or without a
clear destiny, which contrasts with the vibrant and powerful colors associated
with other swords. This mirrors Tanjiro’s journey—his strength comes not
from an inherent power but from his unwavering will to protect others,
much like Goku’s initial low power level belied his future as a formidable
warrior in the Dragon Ball series (Shueisha, 1984–present). Katayama also
said that the people around Tanjiro should be made into distinctive
2 R. S. GREEN
characters, like in previously successful Jump manga such as JoJo’s Bizarre
Adventure (Shueisha, 1987–present), Hunter �Hunter (Shueisha, 1998–pre-
sent), Gintama (Shueisha, 2003–2019), and My Hero Academia (Shueisha,
2016–present), which, Katayama said, were the backbone of Demon Slayer:
Kimetsu no Yaiba (Livedoor News 2020). Got
oge changed the boy she had
already envisioned as a supporting character in an ensamble cast into the
main character and created the new name Demon Slayer: Kimetsu no Yaiba.
The phenomenal success of the manga, awarded for revitalizing the industry,
and the equally successful first season of the anime series. The events of the
movie are written to occur immediately after the actions portrayed in Season
One and lead into Season Two.
This paper argues that Demon Slayer: Mugen Train is not merely an ani-
mated cinematic phenomenon but a multifaceted narrative that intricately
weaves together diverse elements of Japanese cultural heritage. It offers a
unique lens through which to examine some of the complexities of Japan’s
sociocultural and philosophical landscapes and conversely, the impact
of these on the film. It makes this argument in three sections: (1)
The Importance of the Historical Setting in Demon Slayer, (2) Shint
o,
Buddhism, and Confucianism in Demon Slayer: Mugen Train, and (3)
Relations to Antecedent Representations of Dreaming in Japanese Literature
and Anime. The paper answers the following questions in respect to these
sections:
1. How does Demon Slayer: Mugen Train reflect the sociopolitical and cul-
tural dynamics of Japan’s Taish
o era, and what implications does this
historical context have for the film’s narrative and themes?
2. In what ways do Shint
o, Buddhist, and Confucian elements manifest in
the film, and how do they contribute to its overall thematic depth and
character development?
3. How is the film steeped in traditional and modern Japanese representa-
tions of dreaming to enhance its storytelling and to connect with deeper
cultural narratives?
The Importance of the Historical Setting in Demon Slayer
There are a number of significant considerations about Got
oge’s setting of
the film and the series in the Taish
o era. The shift towards militarization
and nationalism in the Taish
o era marked a substantial erosion of the
democratic gains of what has come to be known as Taish
o Democracy.
The military began to exert more influence over the government, steering
Japan away from democratic governance towards authoritarian and militar-
istic policies. We can interpret Tanjiro’s outlook towards both the demons
QUARTERLY REVIEW OF FILM AND VIDEO 3
and the Hashira in this context, along with portrayals of the strong indi-
viduality of all of the main heroes of Demon Slayer: Mugen Train.
Named after Emperor Taish
o, during this era Japan experienced a signifi-
cant move towards parliamentary democracy. Political parties gained unpre-
cedented power and influence, leading to the formation of party-based
cabinets. This was a major departure from the oligarchic control of the gov-
ernment that characterized the previous era. However, the progressive
advances of the Taish
o Democracy were not to last. The era faced signifi-
cant challenges that eventually led to its decline. Economic difficulties,
including financial crises and the devastating impact of the Great Kanto
Earthquake in 1923, strained the nation. These challenges led to social
unrest and weakened the foundations of the democratic institutions that
had been built. Political instability, marked by frequent changes in govern-
ment and political infighting, further undermined the stability and effective-
ness of the democratic process. As a result, the Taish
o period saw the rise
of numerous secretive paramilitary groups intent on ‘purifying’ the country
of foreign influences and furthering what they saw as the divinely given
righteous authority of the emperor. Some of these groups had connections
to Zen and other Japanese Buddhist institutions (See Victoria 2020). The
famous Japanese author and Shint
o nationalist Yukio Mishima (1925–1970)
represented some of this in his last works, The Sea of Fertility tetralogy of
novels. In contrast to the central heroes of Demon Slayer, Mishima glorifies
his protagonists’ violent fight to end Taish
o Democracy, including assassina-
tions of democratic leaders.
Numerous themes and dynamics in Demon Slayer: Mugen Train, particu-
larly the militarism of the Demon Slayer Corps and Tanjiro’s empathy
towards demons, can be seen as reflective of the political and social ten-
sions existing during the Taish
o era. The Demon Slayer Corps, a strict,
hierarchical organization dedicated to killing demons without question,
represents rising militarism in Japan during the period. The Corps’ rigid
structure, discipline, and singular focus on combating a perceived existen-
tial threat mirror the militaristic mindset that began to permeate Japanese
society and politics in the 1920s and 1930s. The Corps, in its unwavering
mission to eradicate demons, reflects the growing influence of the military
and the prioritization of national security and unity over individual liberties
and democratic processes during this time.
About setting the series in this historic period, Jump senior editor
Katayama said, “life in the Taish
o era was difficult and there were many
brothers and sisters, so there was a stronger sense of being the eldest son
than in today’s era. Tanjiro is reminded at various times that he is the eldest
son. I think this was done in consideration of the historical background.”
(Livedoor News 2020) That is to say, awareness of the Confucian idea that
4 R. S. GREEN
the eldest son is responsible for the well being of the family might be more
clear when set in the Taish
o era when Japanese families had more children.
Thus, the depiction of Confucian relationships is one way in which
Demon Slayer: Mugen Train reflects the sociopolitical and cultural dynam-
ics of Japan’s Taish
o era, highlighting the implications this historical con-
text has on the film’s narrative and themes In addition, the tension
between the militaristic approach of the Demon Slayer Corps and Tanjiro’s
empathetic stance can be seen as a reflection of the larger societal and pol-
itical struggles of Japan during the era. The transition from a period
marked by openness, democratization, and liberal values to one dominated
by militaristic and authoritarian ideologies is mirrored in the narrative con-
flict between the rigid structure of the Corps and Tanjiro’s more compas-
sionate and understanding approach to dealing with demons. This duality
captures the essence of a society grappling with modernization, Western
influence, and the tension between traditional values and progressive
change. Tanjiro often reflects on the circumstances that have led individu-
als, whether they are part of the Imperial Army or afflicted with diseases
like tuberculosis, to their current state. This empathy extends to his view of
demons, including his own sister, recognizing that many were once humans
who were forced into their current existence. Tanjiro’s predisposition to
empathize with others, regardless of their actions, adds a layer of moral
complexity to the narrative and challenges the simple dichotomy of good
versus evil. It shows his belief in the inherent worth and potential redemp-
tion of each individual, regardless of their past actions. It is possible to
interpret this aspect of Got
oge’s narrative and the success of the film in
Japan as an indication of strong support for the values of Taish
o
Democracy in the face of a resurgence of Japanese nationalism today.
3
Shint
o, Buddhism, and Confucianism in Demon Slayer: Mugen Train
Demon Slayer: Mugen Train like much of the Demon Slayer series, inter-
twines various elements of Japanese culture, including influences from
Shint
o, Buddhist, and Confucian traditions. These elements are woven into
the story, characters, and themes, reflecting the rich tapestry of Japanese
spiritual and cultural heritage. At the core of the series is the concept of
purification, a vital aspect of Shint
o practice. The demon slayers take on a
role of spiritual purifiers. Their relentless battles against demons symbolize
the cleansing of the world from malevolent forces, mirroring harae, the
Shint
o ritual for eradicating impurity.
The series and the movie also depict a subtle yet profound reverence for
nature and its elements, which can be seen as reminiscent of Shint
o beliefs
in kami—spirits residing within natural phenomena. While the breathing
QUARTERLY REVIEW OF FILM AND VIDEO 5
techniques of the demon slayers draw inspiration from JoJo’s Bizarre
Adventure, they are portrayed as harmonizing with specific natural elements
like water or fire (Livedoor News 2020). This connection suggests a spiritual
relationship with nature that resonates with the Shint
o idea of the sacred
essence within the natural world. However, these breathing techniques also
bear resemblance to practices in Daoist inner alchemy and Onmy
od
o, where
the five elements play a crucial role. This blend of influences reflects the
complex interplay of cultural and religious traditions in Japanese storytell-
ing, where Shint
o, Daoism, and other practices intersect to create a multifa-
ceted spiritual landscape.
The Hinokami Kagura (Dance of the Fire God) is a traditional dance
performed by Tanjiro’s father in Season One. In the movie, Tanjiro ques-
tions Rengoku about the dance, which is significant for several reasons.
First, it represents a Shint
o connection to Tanjiro’s family heritage and is a
physical manifestation of their traditions and cultural practices. Secondly,
the dance plays a crucial role in the narrative, as it becomes the foundation
for Tanjiro to develop his own unique sword-fighting style, the “Dance of
the Fire God” sword fighting technique and Breathing Style. This technique
is pivotal in his battles against demons, symbolizing the transmission of
knowledge and power through generations. As such, Tanjiro’s questions are
indicative of his adherence to the Confucian virtue of filial piety. The dance
also has a spiritual dimension, connecting to Shint
o rituals and practices,
reflecting a communion with natural forces and ancestral spirits, also
important in Confucianism.
The scar on Tanjiro’s forehead can also be interpreted as a sign of his
growing spiritual and physical strength, marking his journey as one shaped
by destiny. Initially received as an injury, the scar changes shape and form
as the series progresses, evolving into a symbol of his resilience and trans-
formation. While scars and physical marks often hold significance in vari-
ous cultural contexts, their interpretation can be particularly rich within
Japanese traditions. In many shamanistic traditions, including that of
Japan, physical marks or scars are often seen as symbols of spiritual
encounters and a sign that the individual bearing one will become a sha-
man (Mariko Namba and Fridman 2005, 205). This concept intersects with
Shint
o beliefs, where natural and physical phenomena, including the
human body, are seen as imbued with spiritual significance. Thus, Tanjiro’s
evolving scar can be understood as more than just a physical marker—it
symbolizes his spiritual journey and the latent spiritual power that reso-
nates with Shint
o ideas of inner strength and connection to the natural
world.
The concept of tama in Shint
o and Japanese culture broadly refers to the
soul or spirit, In the context of Demon Slayer, it symbolizes the inner
6 R. S. GREEN
essence or core of a person. This is particularly relevant when considering
the characters’ struggles and growth throughout the series. Each character,
human or demon, possesses an innermost core that defines their true
nature or essence. This concept is essential in understanding the motiva-
tions and transformations of various characters. It provides a deeper layer
to the narrative, inviting viewers to consider the intrinsic qualities that
define a person beyond their external actions or circumstances.
In Shint
o, tama is understood not just as a soul or spirit but as a vital spir-
itual power or energy (ki in Japanese) that exists in all things, extending
beyond humans to include animals, plants, natural phenomena, and even
inanimate objects. This perspective underscores the animistic nature of
Shint
o, where everything in nature is imbued with spirit or ki (Bocking 2005,
186). The Shint
o concept of tama or soul is featured in the Kojiki (early 8th
century), one of Japan’s oldest and most significant texts, within a context
that emphasizes the spiritual beliefs inherent in Shint
o. For instance, the nar-
rative of the death of the female creator kami Izanami illustrates how her
tama transitions to the underworld, Yomi, after death. Her husband, Izanagi,
attempts to retrieve her, leading to a series of events that explain certain
death rituals in ancient Japan and the concept of spiritual pollution in
Shint
o.
4
This story highlights the belief that tama continues to exist and
influences the living even after death, a concept central to Shint
o.
Tama is closely associated with kami, a term that refers to spirits or deities
in Shint
o. Kami can be ancestors, natural phenomena, or even powerful his-
torical figures. The tama of these kami are venerated and respected, as it is
believed to influence the living world. The state of a tama can affect an indi-
vidual’s or an object’s spiritual purity. Ancestral worship in Shint
o is partly
based on the belief that the tama of ancestors can influence the living, pro-
viding protection and guidance. Many Shint
o rituals and festivals involve
appeasing or venerating the tama of kami or ancestors. These practices are
central to maintaining harmony between the spiritual and physical worlds.
In Demon Slayer: Mugen Train, Tanjiro, the protagonist, is attacked by
the demon Enmu, who has the ability to manipulate dreams. Enmu forces
a young boy with tuberculosis to enter Tanjiro’s dream and destroy his
spiritual core (seishin no kaku), which is portrayed as the essence of his
being and the source of his strength. In the context of the film, there are
two interconnected meanings of the word tama: spirit and jewel. The boy,
upon encountering Tanjiro’s core, perceives it as a beautiful jewel (tama)
shining in a blue sky above a body of water, evocative of the rising sun
symbolizing Japan. According to the narrative, this spiritual core is in the
center of one’s heart and represents a person’s true self. Not only is the
boy unable to destroy Tanjiro’s tama, but its purity transforms him into a
compassionate being, willing to die rather than kill. For his part, Tanjiro
QUARTERLY REVIEW OF FILM AND VIDEO 7
forgives the boy and wishes him well. The boy’s profound transformation
upon witnessing the sun’s splendor above the water signifies the purity,
beauty, and spiritual power of such natural scenes in Japan, echoing the
beliefs held in Shint
o about the sanctity of nature.
Demon Slayer extensively incorporates other elements from Shint
o folklore
as well, particularly oni (demons) and y
okai (monsters or supernatural crea-
tures). Old legends of Japan (Nihon mukashi banashi) are cited as one of her
influences and Got
oge has Tanjiro point to an encyclopedia of y
okai at the
end of an episode in Season One of the series (Sh
ukan Sh
onen Janpu
Hensh
u-bu (Weekly Sh
onen Jump Editorial Department)) 2021). Oni in such
works of traditional folklore are often portrayed as malevolent, although they
can sometimes be protectors. The portrayals of demons in Demon Slayer
have similarities to these traditional depictions, but with added nuances.
Y
okai are a diverse class of supernatural creatures and spirits in Japanese
folklore, and their inclusion in the series adds a rich cultural texture. The
blending of these folklore elements into the narrative allows the series to
explore themes of good versus evil, transformation, and the nature of human-
ity, all through a lens deeply rooted in Japanese culture and mythology.
When Inosuke, one of the main characters in Demon Slayer: Mugen
Train, dreams on the train, he envisions his companions as figures closely
resembling the mythical tanuki that star in the 1994 Japanese anime film
Pom Poko (Toho, 1994), written and directed by Isao Takahata (1935–
2018) and animated by Studio Ghibli, which Takahata co-founded. Tanuki
are mythical shape-shifting raccoon dogs in y
okai folklore. ‘Pom poko’ is
the sound tanuki make when they drum their bodies. Tanuki are among
the most common y
okai, appearing in video games, TV shows, literature,
advertisements, and elsewhere in Japan. The earliest mention of a tanuki-
like creature is in the Nihongi (also called the Nihon Shoki, completed in
720), the second-oldest book of classical Japanese history and a central
source of Shint
o belief (Foster 2015, 187. Also see Reider 2013). Reider’s
analysis highlights how oni have evolved in modern times, influenced sig-
nificantly by the Western horror genre and its monsters. While some of
the demons in Demon Slayer are connected to non-Asian vampire lore,
this is not the focus of this paper.)
It is important to note that both the Nihongi and the Kojiki were written
after nearly 200 years of Buddhist influence had already begun to integrate
with Shint
o beliefs and practices. This period of syncretism, known as shin-
butsu sh
ug
o, began in the 6th century and profoundly shaped the develop-
ment of both religions in Japan. By the time these foundational Shint
o
texts were compiled in the 8th century, Shint
o and Buddhism had become
deeply intertwined, with Buddhist elements and deities often being incorpo-
rated into Shint
o rituals and narratives.
8 R. S. GREEN
For nearly a millennium, this syncretic relationship was the norm.
However, during the Meiji Restoration in the late 19th century, the
Japanese government sought to distinguish Shint
o from Buddhism in an
effort to promote Shint
o as the state religion. This led to the establishment
of State Shint
o, a system that emphasized Shint
o as a tool of nationalism,
focusing on the divine origins of the emperor and the nation. The forced
separation of Shint
o and Buddhism under State Shint
o had profound
effects on religious practices, attempting to purify Shint
o from Buddhist
influences that had been present for centuries.
5
The significance of State Shint
o is particularly relevant to the setting of
Demon Slayer: Mugen Train, which takes place during the Taish
o period.
This era was marked by a tension between the lingering influences of State
Shint
o and the emerging modernization and democratization of Japanese
society. The film’s portrayal of spiritual themes and the characters’ struggles
can be seen as reflecting these broader societal shifts. Understanding the
historical context of Shint
o-Buddhist syncretism and the impact of State
Shint
o during the Taish
o period provides a deeper insight into the narra-
tive and themes of the film (Croteau 2023, 13–14).
Just before Tanjiro defeats Enmu, whose name means “nightmarish
dream,” that demon shape shifts into a creature with a long stretched neck
that would be quickly recognized by Japanese viewers as a reference to rokur-
okubi. In y
okai lore, a rokurokubi otherwise appears to be an ordinary
woman until she reveals the frightening neck-stretching quality, often to the
amusement of readers. In his Book of Y
okai, Michael Dylan Foster cites a
survey finding that 99 percent of children in Japan knew of rokurokubi
(Foster 2015, 224). That Got
oge chose to depict Enmu as distinctively andro-
gynous may suggest one way she reclaims misogynistic myths in the series.
There are many representations throughout the history of Japanese litera-
ture and folklore of demonic women who deceive their male victims. Among
the most famous examples is the Snow Woman (Yukionna), a figure often
depicted in literature, film, and anime. Although there are numerous varia-
tions, the basic story is that a mysterious woman appears during a blizzard
and supernaturally saves a stranded woodcutter. She warns him that if he tells
anyone about the incident, she will kill him. Years later, the woodcutter mar-
ries a beautiful woman named Oyuki (Snow), who remains youthful despite
having ten children. He eventually mentions the Yukionna incident, and
Oyuki reveals herself as the same entity. However, she spares him for the
sake of their children and disappears forever.
Nezuko appearing to Tanjiro to save him in the snow is a clear reference
to Yukionna. This connection functions on multiple levels within the story.
First, it emphasizes Nezuko’s dual nature—she is a demon, like Yukionna,
but also a protector, mirroring the Yukionna’s initial act of saving the
QUARTERLY REVIEW OF FILM AND VIDEO 9
woodcutter. Unlike Yukionna, who eventually leaves her family, Nezuko’s
act of saving Tanjiro signifies her deep bond with him and her enduring
humanity despite her demonic transformation. This reference also deepens
our understanding of Nezuko’s character, highlighting her inner conflict
between her demonic instincts and her desire to protect her brother.
Additionally, the reference to Yukionna underscores the themes of love,
sacrifice, and the blurred lines between human and demon in Demon
Slayer: Mugen Train. Just as Yukionna spares the woodcutter out of love
for their children, Nezuko’s actions demonstrate that love and family ties
can transcend even the darkest transformations. This parallel enriches the
narrative by drawing on a well-known Japanese myth, adding layers of cul-
tural resonance and emotional depth to the story.
In this and other portrayals of Nezuko, Got
oge joins other notable con-
temporary Japanese women writers of fiction, including Fumiko Enchi
(1905–1986) and Y
oko Ogawa (1962-) who subvert narratives of demonic
or vengeful females that are pervasive in Japanese literature and folklore
(See Pounds 1975; Also see Koncilja 1994; For an example of Ogawa stories
that do this, see Ogawa 2013). Similar to Yukionna, Nezuko awakens
Tanjiro so that he doesn’t die. However, Netsuko does so unconditionally
and she only uses her demonic power in the service of good. Because of
this, the bamboo in her mouth that is presumed to keep her from biting
people can be interpreted as representing past silencing of women by a
male-dominated society. Indeed, without Nezuko, Tanjiro and the other
demon slayers on the train may well have died. Got
oge likely conceived of
Nezuko as playing an even larger role when she first developed her ensem-
ble cast for Demon Slayer, before the editors of Jump advised her to make
one boy the lead hero to appeal to the taste of their primary sh
onen (young
male) readership. Nevertheless, Nezuko remains central to the plot and her
character is written to leave viewers wondering about the full extent of her
abilities that at times seem to surpass those of the male heroes. It is also
interesting to note that as far back as the Kojiki and Nihongi, two central
writings for Shint
o, marginalized people of Japan have been represented as
demons. In fact, the Spider Family that appears in the first season of the
Demon Slayer series is very similar to the Tsuchigumo (Earth Spiders) in
those writings as groups outside the Yamato clans that the emperor pro-
ceeds to exterminate.
6
Tuschigumo also appear as demons in Noh and
Kabuki dramas. Again, Got
oge’s portrayal of Nezuko challenges such his-
torical depictions of marginalized people as demons by suggesting, as
Tanjiro does as well, that there are circumstances surrounding their exist-
ence and they cannot rightly be judged as evil.
The theme of misunderstood beings continues in Demon Slayer: Mugen
Train with the introduction of Enmu, the film’s main antagonist, who
10 R. S. GREEN
possesses the ability to manipulate dreams. Enmu’s power allows them to
put the protagonists to sleep and infiltrate their dreams, where the charac-
ters confront their deepest desires, fears, and memories. One of the mani-
festations of this power is the “dream hand,” a disembodied hand that
Enmu sends to put the demon slayers to sleep. The hand is marked with
kanji characters for “dream” (yume 夢), has a mouth that commands the
characters to sleep, and an eye above the forefinger and thumb when
detached from Enmu’s body. The dream hand could be interpreted as a
metaphor for Enmu’s power to see into the subconscious minds of others
and manipulate their innermost fears and motivations. Visually, the dream
hand is reminiscent of the y
okai known as Tenome or “Eye Hand,” a crea-
ture from Japanese folklore. This connection enriches the film’s exploration
of the complex relationship between dreams, reality, and the hidden depths
of the human psyche.
The Tenome is often depicted as an old man or a ghastly figure with
eyes on the palms of its hands. This unique feature gives the Tenome a
blind appearance in the traditional sense, but it can ‘see’ in a different
manner, using the eyes on its hands. The Tenome uses its hands to ‘see’ its
surroundings, often depicted as holding its hands up to navigate or search
for something.
The Tenome, like many y
okai, can be seen as a personification of human
fears or concerns. It is interesting in this context that Enmu fights the
demon slayers psychologically and without the need to throw a single
punch. Tenome, like other y
okai, is a popular subject in Japanese art, litera-
ture, and media. It appears in various forms of storytelling, from traditional
folktales to modern manga and anime. The image is often used in stories
to evoke a sense of mystery, eeriness, or the supernatural. Its unique
appearance and characteristics make it a memorable and intriguing figure
in the y
okai world. In modern times, the Tenome, along with other y
okai,
has seen a resurgence of popularity, often appearing in contemporary
Japanese horror and fantasy genres.
In Demon Slayer: Mugen Train, the concept of the ‘dream hand’—a dis-
embodied hand that can manipulate dreams—draws from Japanese folklore,
particularly the y
okai Tenome, known as the ‘Eye Hand.’ This idea of a dis-
embodied, supernatural hand is not unique to Demon Slayer, but rather
part of a broader cultural motif that can be seen in other Japanese-inspired
media. For instance, The Legend of Zelda: Tears of the Kingdom (Nintendo,
2023) introduces ‘gloom hands,’ eerie entities that try to grab players and
drain their life force. This design continues a tradition within the Zelda ser-
ies, which has a long history of drawing inspiration from mythologies and
folklore, including Japanese culture.
QUARTERLY REVIEW OF FILM AND VIDEO 11
The recurring appearance of hand-shaped monsters in Japanese media,
like the Floormasters in The Legend of Zelda: Ocarina of Time (Nintendo,
1998), and the thematic similarities between Demon Slayer and Zelda, such
as their shared emphasis on nature, spirits, and sacred places, suggest a deep
cultural resonance. Both the game and the film reflect a Shint
o-inspired spir-
itual ethos, where the reverence for natural spaces, protective deities, and the
sacred nature of certain objects play a central role. The concept of boundaries
in these stories, whether it’s the invisible wall in video games or the edge of
dreams in Demon Slayer: Mugen Train, symbolizes the limits of perception
and the crossing into the supernatural or unknown. By drawing these con-
nections, we see how modern media, even across different genres, continues
to engage with traditional Japanese spiritual and cultural themes, making
them accessible to contemporary audiences.
Many other video games, manga, and anime feature special eyes that play
significant roles in the storyline. In the anime and manga series Naruto (NA/
UK: Viz Media, 1999–2014), the concept of special eyes is deeply tied to its
thematic exploration of vision, insight, power, and heritage. The dream hand
in Demon Slayer: Mugen Train and the y
okai Tenome both involve themes
of perception, navigating unseen or complex realms, and gaining deeper
insight or understanding.
This exploration of perception and the blurring of reality is further
reflected in the dual meanings of the term mugen in the film’s title. Mugen
can mean both ‘limitless’ and ‘dream-bound,’ encapsulating the film’s explor-
ation of the fine line between reality and illusion. These dual meanings are
visually represented in the film: the front of the train displays the kanji for
‘limitless’ or ‘infinity’ (無限), while the tickets that the conductor punches to
initiate the dreams display the kanji for ‘dream-bound’ (夢限). This clever
wordplay underscores the theme that one’s dreams and ambitions can be
both a source of limitless potential and a form of restraint, echoing the com-
plex interplay between perception, reality, and the subconscious mind.
The idea that the world is like a dream or an illusion is a common
theme in Buddhist philosophy, and can be found in many of its sutras and
texts. One of the most well known sutras that discuss this concept is the
Diamond Sutra (Vajracchedik
a Praj~
n
ap
aramit
a Sutra). The following pas-
sage appears in that text:
All things are like a dream,
an illusion, a bubble, a shadow,
like dew, and like lightning.
You should observe them in this way (Takakusu and Watanabe [1924] 1962).
This passage emphasizes the impermanent and insubstantial nature of
the world. The sutra teaches that all phenomena are transient and lack
inherent existence. In Buddhism, attachment to and love for family and
12 R. S. GREEN
this illusionary world keeps us from awakening. This attachment to family
and the illusion surrounding it is exactly what Enmu uses in his attempt to
keep Tanjiro from awakening. However, Got
oge also represents family love
in a Confucian sense connected to the Taish
o era as described above, that
is, as being a strength, such as seen in the bond between Nezuko and
Tanjiro. In addition, in Japanese culture, the realization of impermanence
(the transient nature of all things) enhances the appreciation of beauty.
This is because beauty is seen as all the more precious due to its fleeting
nature. Such aesthetic sensibility is evident in Japan in popular cultural
practices like cherry blossom viewing (hanami), where the short-lived
beauty of the blossoms is a metaphor for the ephemeral nature of life. This
concept is closely related to the Buddhist doctrine of muj
o, the imperman-
ence of all things, which was syncretized into Shinto but also has roots in
Shinto itself. In Shinto, figures like the yamauba, who dances the four sea-
sons into being endlessly as the grandmother of nature, embody this per-
petual cycle of change and renewal, reflecting the continuous flow of the
natural world (Melissa, 2023, 79).
When syncretic Buddhism later adapted the yamauba figure, she became
a complex symbol—representing both the corrupting attachment to the
material world and the world’s inherent impermanence, or muj
o. This dual-
ity is reflected in Noh plays such as Adachigahara and Yamamba, where
she is portrayed from Buddhist and Shinto perspectives, respectively.
Adachigahara presents her as a cautionary figure, illustrating the dangers of
attachment, while Yamamba celebrates her connection to the generative
forces of nature. This blend of Shinto and Buddhist ideas highlights how
muj
o is not merely about decay and loss but also about the dynamic, gen-
erative processes of the natural world.
The idea is that an awareness of impermanence leads to a deeper, more
poignant experience of beauty. This is precisely what Kyojuro Rengoku
explains to Akaza in a paradigmatic monologue near the end of the film.
While Rengoku, the Flame Hashira, embodies many Buddhist values and
aesthetics with impermanence at their center, symbolized by the fiery
beauty of his flame-based powers, his character is also deeply marked by
the Confucian sense of duty and honor. During his confrontation with
Akaza, a powerful antagonist of the upper three ranks of demons, Rengoku
brings to the forefront the themes of mortality, duty, and the fleeting
nature of existence. His commitment to his role as a demon slayer, despite
the fact that it will likely lead to his death, reflects his acceptance and
embodiment of these themes. He stands firm in his beliefs, demonstrating
a clear understanding that the beauty and value of life, as well as the sig-
nificance of Confucian values like duty and honor, are heightened precisely
because they are not everlasting. However, this creates a subtle tension
QUARTERLY REVIEW OF FILM AND VIDEO 13
within Rengoku’s character. On the one hand, his acceptance of life’s tran-
sience aligns with the Buddhist concept of muj
o, the impermanence of all
things. On the other hand, his deep sense of Confucian filial piety, as seen
in his memories of kneeling beside his father, reflects a commitment to
familial duty that can seem at odds with the Buddhist view of detachment
from worldly bonds.
This philosophical dissonance—between the Buddhist acceptance of imper-
manence and the Confucian emphasis on enduring duty—highlights an
internal conflict within Rengoku, as well as a broader tension within Japanese
culture, where these two influential traditions have long coexisted. In this
context, Rengoku’s dedication to protecting others, even at great personal
cost, can be seen as an embodiment of the film’s title, Mugen, which alludes
to the boundless and dream-like nature of existence. Yet, his strong adher-
ence to Confucian values suggests that he is also bound by a sense of duty
and honor that transcends the impermanence of life, illustrating the complex
interplay between Buddhist and Confucian ideals in his character.
Being immortal, Akaza does not care about Rengoku’s Buddhist view of
impermanence. Similar to Vegeta in the Dragon Ball series, Akaza is
focused on perfecting his martial arts abilities. He sees Rengoku as a poten-
tial ally in this and therefore refers to him by his given name, Kyojuro.
This casual level of language is a signal in Japanese culture that the speaker
wants to be a friend. However, Rengoku’s language remains more formal
and distant. Although Akaza is a demon intent on destroying the demon
slayers, he is also a likeable character for this reason, again similar in this
to Vegeta.
The plight of demons, who were once humans, reflects the Buddhist con-
cept of saṃs
ara, the cycle of suffering and rebirth. This is shown explicitly
at the end of Season Two of the series. Human transformation into demons
can be interpreted as a manifestation of inner suffering and desire that
binds them to a cycle of pain and aggression. In Buddhist texts, oni and
other hellish figures are not merely forces of punishment but are under-
stood within a framework of compassion. Figures like King Yama, who
rules over the Buddhist hells, administer justice not out of cruelty but to
help individuals recognize their errors and ultimately guide them towards
enlightenment.
7
This theme of compassion is vividly portrayed through Tanjiro’s actions.
We first get a sense of the depths of Tanjiro’s compassion in Episode 8 of
Season One, in a scene where he offers condolences while holding the hand
of a defeated demon that has killed his friends.
8
The series shows that even
those who have become demons—akin to oni—are not beyond the reach of
empathy and understanding. Demon Slayer: Mugen Train takes Tanjiro’s
compassionate stance even further when he appeals to Inosuke not to kill
14 R. S. GREEN
the train’s engineer who stabbed him. Tanjiro’s reasoning—that he must
strive to live not for his own sake but to prevent the engineer from becom-
ing a murderer—reflects the Bodhisattva ideal found in Buddhist teachings.
This ideal, where one delays their own ascension to nirvana to prevent the
suffering of others, mirrors the compassion King Yama embodies in guiding
lost souls. Tanjiro’s actions, therefore, resonate with both the compassionate
treatment of oni in Buddhist tradition and the Bodhisattva’s selfless dedica-
tion to alleviating the suffering of all beings.
9
In this moment, Tanjiro embodies the Bodhisattva ideal, prioritizing the
well-being of others over his own life. As such a Buddhist character would
do, and to Inosuke’s surprise, Tanjiro asks if the engineer is okay. He then
asks Inosuke to help the engineer who has a shattered leg, saying, ‘He has
already received his punishment.
10
So, will you help him? Please.’ Throughout
the series, Tanjiro consistently operates like a Bodhisattva, showing compas-
sion and concern for others, even when they have wronged him or pose a
threat to his life.
In answer to the question of how Shint
o, Buddhist, and Confucian ele-
ments manifest in the film, and how they contribute to its overall thematic
depth and character development, the intricate interplay of these traditions,
coupled with Japanese folklore, creates a narrative that is both culturally
rich and philosophically profound. The Shint
o concept of tama, represent-
ing the soul or spirit, underscores the deep-rooted animistic beliefs of
Japanese culture, emphasizing the interconnectedness and sanctity of all life
forms. The film’s engagement with Buddhist philosophy, especially the con-
cept of impermanence, adds a layer of existential introspection. The por-
trayal of dreams as realms of personal reflection, memory, and desire aligns
with Buddhist teachings on the transient nature of existence, where attach-
ment and illusion can hinder enlightenment. Yet, the film presents a
nuanced perspective where familial bonds emerge as sources of strength
and motivation as Confucianism teaches. In short, Demon Slayer: Mugen
Train not only excites its audience with action and adventure but also
invites a deeper contemplation of philosophical and spiritual themes. By
doing so, this series and film join the ranks of other globally celebrated
Japanese anime masterpieces, such as the works of Miyazaki, Takahata,
Satoshi Kon, and Makoto Shinkai, offering a rich tapestry that weaves
together action, character development, and cultural introspection.
Relations to Antecedent Representations of Dreaming in Japanese
Literature and Anime
As with other literatures of the world, the writings of Japan have a long
history of representations of dreams. In the oldest existing collection of
QUARTERLY REVIEW OF FILM AND VIDEO 15
Japanese poetry, the Man’y
osh
u (Collection of Ten Thousand Leaves) com-
piled in the 8th century, dreams or the act of dreaming are mentioned in
more than a hundred poems, reflecting the thoughts, emotions, and desires
of the poets. Most of those related to dreams are relationship poems
(s
omon 相聞), but there are also those that are elegies for the dead (banka,
挽歌). In the latter, the deceased appears in dreams, similar to what hap-
pens with Tanjiro.
Man’y
osh
u poem 150 in Book 2 was written by a woman of the court
upon the death of Emperor Tenji, who reigned from 668 to 671. It conveys
the idea that a dream and perhaps the poem itself were her only ways to
communicate with the dead emperor. While this is somewhat similar to
Tanjiro’s experience, he has no expectation that he is actually communicat-
ing with his dead family members. Many scholars believe that the dream in
poem 150 was a “sought-after dream,” one that occurs from wanting it to
happen (Collins 2000). In it, we find the belief that the emperor has fully
become a kami after death. It is as follows:
Those of the world cannot endure the presence of a kami.
Separate from the place where you abide,
there is morning lamentation for my lord.
Kept away from your abode, I yearn for my lord.
If you were a jewel (tama), I would carry you wrapped in my hands.
If you were a robe, at no time would I take you off.
Longing so much, I saw my lord last night in a dream.
The jewel in the poem may refer to the imperial tama or spirit. In con-
trast, it might mean the tangible presence of the emperor (Ebersole 1989).
The idea that a concubine of the emperor could wrap the imperial tama in
her hands may indicate holding the emperor’s spirit in the liminal space at
the time between death and becoming a kami (See Thomas 2017). The con-
cubine remains in the world of the living, while the emperor, upon his
death, is elevated to the status of a kami.
Another poem expressing a sentiment similar to that of Tanjiro when he
had his dreams was written by the most prominent poet of the Man’y
osh
u,
Kakinomoto no Asomi Hitomaro (c. 653–c. 710). It appears as #2418 of the
collection and translates as follows:
What is the name of the god
to whom if I make offerings
I may see the girl I think of
in the valley of dreams?
Poems in the Man’y
osh
u are typically interpreted as conveying ideas not
yet influenced by the spread of Buddhism in Japan, focusing on concepts
such as tama and kami. However, by the time the Kojiki and Nihon Shoki
16 R. S. GREEN
were compiled in the early 8th century, Buddhist influences had already
begun to integrate with Shinto beliefs, as seen in the narratives and themes
of these texts. By 905, when Ki no Tsurayuki assembled the Kokinsh
u
(Collection from Ancient and Modern Times), the first anthology of
Japanese poetry compiled upon Imperial order, we can see strong Buddhist
convictions expressed in poems referencing dreams, in addition to a con-
tinuation of Man’y
osh
u-type appearances of missed loved ones. A poem by
an anonymous author that appears as poem 942 in Book 13 of the
Kokinsh
u reads:
Is this world
a dream or is it real?
Whether real or whether a dream
I do not know.
If it exists, it does not.
This poem reflects the Buddhist notion of muj
o (impermanence) and
also echoes the teachings of the Diamond Sutra. The phrase ‘If it exists, it
does not’ suggests that ordinary reality is ultimately unreal. In Buddhism,
this means that what we perceive in the material world is always in flux,
constantly changing, and therefore lacks a stable or discrete identity. This
impermanence aligns with the idea that the phenomenal world is an illu-
sion, masking the deeper reality of the unity and interpenetration of all
phenomena. This concept is also shared with Shinto, where the material
world is seen as interconnected and continuously evolving, without a fixed
essence.
Dreams are important parts of many famous works of Japanese fiction
from the Heian period (794–1185) and beyond. Got
oge and Japanese view-
ers would have been aware of these. In a famous scene from The Tale of
Genji, written in the 11th century by Murasaki Shikibu, the jealous dream-
spirit of Lady Rokujo visits a romantic rival in the waking world. This dis-
embodied wandering spirit is known as a ikiry
o, living ghost. A comparison
between the dream states in The Tale of Genji, especially that of Rokujo,
and in Demon Slayer: Mugen Train offers insights into how dreams are
portrayed in two very different Japanese cultural products separated by
centuries. In both works, dreams serve as more than just mental experien-
ces. They are realms where spiritual or supernatural events occur, affecting
the real world or revealing deeper truths about the characters, personal
struggles, desires, and fears. Tale of Genji, rooted in Heian period beliefs
and aesthetics, uses dreams to illustrate the era’s views on spirituality and
emotion. In contrast, Demon Slayer: Mugen Train uses modern animation
techniques and storytelling to create visually rich and dynamic dream
sequences that explore character development and narrative progression.
Banka eulogy dream poems in the Man’y
osh
u and Rokujo’s dream in
QUARTERLY REVIEW OF FILM AND VIDEO 17
The Tale of Genji assume that dreams are real beyond their psychological
and emotional affects. In those writings, the dream self physically interacts
with those who are awake. In Buddhist terms, dreams are as illusionary as
the so-called waking world and one delusion can mix with another, as also
conveyed in the Kokinsh
u poem above. This is not the case in Demon
Slayer: Mugen Train where dreams are portrayed as vivid, personal land-
scapes that reveal inner truths and serve as crucial elements in the story’s
action and development.
Dreams have long been a powerful narrative device in Japanese literature,
used to explore themes of longing, love, and the transient nature of life.
This tradition provides a cultural and literary context for understanding
the role of dreams in Demon Slayer: Mugen Train. For instance, in The
Pillow Book by Sei Sh
onagon and the Sarashina Diary by Sarashina, dreams
are reflections of inner emotions and desires, much like how the dream
sequences in Demon Slayer reveal the inner struggles of its characters.
Similarly, in Konjaku Monogatari and Heike Monogatari, dreams serve as
metaphors, moral lessons, and foreshadowing devices—paralleling how the
dreams in Demon Slayer advance the plot and deepen character develop-
ment. These literary precedents highlight how dreams in Demon Slayer are
not merely plot devices but are rooted in a rich tradition of using dreams
to explore deeper psychological and spiritual truths.
Noh plays of the Muromachi Period (1336–1573) often use dreams for
religious purposes. Atsumori is the most famous play by Zeami Motokiyo
(c. 1363–c. 1443). In the play, the ghost of the warrior Atsumori appears in
a dream to confront his enemy, Kumagai, who is now a monk. The dream
sequence is used to express Buddhist themes of remorse and the fleeting
nature of life. These themes are likewise found in Tanjiro’s dreams.
Zeami’s Izutsu (The Well-Cradle) centers on the ghost of a young woman
who revisits her childhood home and reminisces about her past love. The
dream-like atmosphere of the play blurs the line between past and present,
memory and reality, again like what happens to Tanjiro as he goes back
and forth between dreams and being awake. Likewise, D
oj
oji is a famous
Noh play by Zeami involving a woman who turns into a serpent as a result
of her obsessive love and haunts D
oj
oji Temple. The dream sequences in
this play are used to depict the transformation and the intense emotions of
the characters.
Depictions of dreams in contemporary Japanese literature often serve as
a powerful narrative device, reflecting the inner lives, desires, fears, and
subconscious thoughts of characters. Coin Locker Babies (1980) by Ryu
Murakami features surreal and sometimes disturbing dream sequences that
reflect the psychological states of the characters. The dreams in this story
often serve as a window into the deeper, often darker aspects of the
18 R. S. GREEN
characters’ psyches. In Kitchen (1988) by Banana Yoshimoto dreams are used
to explore grief, love, and the process of healing. The Memory Police (1994)
by Y
oko Ogawa, set in a dystopian world, uses dreams to convey the emo-
tions and memories of characters living under oppressive conditions. Dreams
in Ogawa’s narrative often symbolize the loss and yearning experienced by
the characters. Out (1997) by Natsuo Kirino uses dream sequences to delve
into the subconscious of its characters, particularly in exploring themes of
freedom, entrapment, and the roles of women in society. In the works of
Haruki Murakami (1941–) dreams often serve as a gateway to explore deeper
themes of consciousness, identity, and the complexities of human emotion.
For example, Kafka on the Shore (2002) uses dreams to blur the lines
between reality and the surreal. In it, dreams play a crucial role in unraveling
the complex, intertwining narratives of the main characters. These examples
highlight how contemporary Japanese authors use dreams not just as a liter-
ary device, but also as a means to delve deeper into the human psyche,
exploring complex emotions and themes. This is the very use of the depic-
tions of dreams in the four hero characters in Demon Slayer: Mugen Train:
Rengoku, Tanjiro, Inosuke, and Zenitsu.
In other anime, the Naruto series includes characters with genjutsu (illusion
techniques) abilities, such as Itachi Uchiha. Genjutsu can manipulate other
people’s senses and perceptions, sometimes effectively putting them in a
dream-like state, comparable to Enmu in Demon Slayer: Mugen Train. In
Bleach, the character Retsu Unohana, a Soul Reaper, has a Zanpakuto (super-
natural sword) named Minazuki that can release a mist causing others to fall
unconscious. Additionally, the popular 1984 anime film Urusei Yatsura 2:
Beautiful Dreamer (dir. Mamoru Oshii) centers around the manipulation of
dreams, exploring the blurred lines between reality and illusion in a way that
resonates with the themes found in Demon Slayer: Mugen Train.
Also similar to Enmu’s ability, the anime film Paprika, directed by
Satoshi Kon, revolves around a device that allows therapists to enter their
patients’ dreams. The narrative delves into the manipulation of dreams and
the blending of dreams and reality. In Yu Yu Hakusho, Koenma, has the
ability to put people to sleep as Enmu does. This ability adds to the mys-
tical elements of the series. In Hunter x Hunter, cited as an inspiration for
the Demon Slayer series, Morel, a Hunter in the series, uses his smoke to
create illusions and, in certain situations, can cause people to fall asleep.
JoJo’s Bizarre Adventure, another inspiration for Demon Slayer as cited
above, certain Stand have the ability to manipulate sleep or dreams, espe-
cially in the later parts of the series.
These abilities in anime and manga series often serve as plot devices to
explore deeper themes or as tools for conflict and resolution in the narra-
tive. They range from literal sleep induction to more complex manipulation
QUARTERLY REVIEW OF FILM AND VIDEO 19
of dreams and perceptions, reflecting the diverse ways in which their crea-
tors incorporate supernatural and fantastical elements into their storytelling.
The analysis in this section answers the paper’s question of how the film is
steeped in traditional and modern Japanese representations of dreaming to
enhance its storytelling and to connect with deeper cultural narratives.
Reference to dream-related poems in the Man’y
osh
u establishes a historical
context, showing that the portrayal of dreams in the film is part of a long-
standing cultural tradition. The exploration of how dreams were perceived as
links to the subconscious, spiritual realms, or as mediums for communication
with the divine or deceased, directly relates to the film’s depiction of dreams
as realms of profound personal significance and supernatural interaction.
Furthermore, Man’y
osh
u poems with thematic focus on longing, love, and
spiritual connection resonates with Tanjiro’s dream in the film. This com-
parison highlights its adherence to and continuation of these traditional
themes, using dreams as narrative tools to explore characters’ inner worlds
and emotional landscapes. The discussion of Buddhist influences in later
poetry collections like the Kokinsh
u and its impact on dream representation
in literature provides a broader religious and philosophical backdrop against
which the film’s dream sequences can be examined. The consideration of
the treatment of dreams in contemporary literary works and anime is meant
to contribute further to this, showing where Got
oge drew inspiration.
Conclusion
There are many more cultural references in Demon Slayer: Mugen Train
that add depth to the narrative. Near the beginning of the film, we are first
introduced to the heroic Rengoku as he is eating heartily on the train,
repeating “Umai!” (Delicious!) with every bite. Depicting characters eating
heartily is a common and beloved element in many series, often used to
convey various aspects of a character’s personality, the culture they inhabit,
or to add humor and friendliness to a scene. Such characters that eat heart-
ily are often depicted as strong, energetic, and full of life. This is particu-
larly common in action or adventure anime where physical prowess is a
focus such as in the Dragon Ball series in which Goku is known for his
enormous appetite, reflecting his superhuman strength and energy require-
ments. Eating scenes are also often used for comedic effect, showcasing the
character’s almost insatiable hunger in a humorous light. For example,
Naruto Uzumaki from Naruto has a well-known love for ramen, often eat-
ing it in large quantities and with great gusto, adding a light-hearted elem-
ent to the series. Anime often exaggerates the act of eating large portions,
highly animated expressions, and sound effects to enhance the comedic or
dramatic impact. For example, in My Hero Academia, the character Choji
20 R. S. GREEN
Akimichi’s eating habits are often exaggerated for comic effect, underscor-
ing his love for food and his large physique.
Japanese viewers of Demon Slayer: Mugen Train would have noticed right
away that when Enmu is defeated, he transforms into the popular image of
fun (feces). In Japanese culture, as in many cultures around the world, feces
is sometimes used in humorous contexts. In Japan, feces is often anthropo-
morphized and depicted in a cute, cartoonish manner. The character is usu-
ally a friendly, smiling swirl, often in a soft brown color, making it appear
harmless and endearing rather than repulsive. This ‘cute’ depiction is a part
of the broader kawaii culture in Japan, which embraces all things adorable
and charming. In line with kawaii depictions, feces is sometimes used as a
character or mascot in various media, from children’s books to merchandise.
Even though Enmu’s transformation is humorous, unlike other demons in
the series, he is steadfast in rejecting Tanjiro’s compassion, only desiring to
be reborn again as a demon so he can kill the hero.
Demon Slayer: Mugen Train stands as a remarkable achievement in anime
filmmaking, distinguished not just by its technical prowess and narrative
appeal, but also by its deep engagement with Japanese historical, philosoph-
ical, and literary themes. The film’s success transcends box office records,
offering a nuanced exploration of Japan’s rich heritage and contemporary
societal issues. The backdrop of the Taish
o era, a pivotal period in Japan’s
history, provides a rich context for the film’s themes of change, conflict,
and resilience. The incorporation of Shint
o, Buddhist, and Confucian ele-
ments adds profound philosophical and spiritual dimensions, enriching the
narrative with questions of impermanence, morality, and the nature of evil.
In addition, the film serves as a case study for researchers exploring how
contemporary Japanese writers are challenging traditional misogynistic rep-
resentations by reclaiming myths of demonic women. However, Demon
Slayer: Mugen Train truly emerges as a tapestry woven with threads of his-
torical insight, spiritual inquiry, and cultural celebration. It is a testament
to the power of anime as a storytelling medium, capable of not only capti-
vating global audiences but also imparting a deeper understanding of the
cultural and philosophical landscapes from which it originates. This film
epitomizes how popular media can serve as a bridge between entertainment
and education, providing both enjoyment and illumination to its audience,
and underscoring the enduring relevance of Japan’s cultural traditions in
contemporary storytelling.
Notes
01. “歴代ランキング” [Successive Rankings]. 2024. Cinema ランキング通信 (Cinema
Ranking Ts
ushin). 興行通信社 (Kogyo Ts
ushinsha). Globally, Your Name (Makoto
Shinkai, 2016) took in more globally than Spirited Away.
QUARTERLY REVIEW OF FILM AND VIDEO 21
02. Monju is the Japanese name of the Buddha’s follower Ma~
nju
srī.
03. For an in-depth description of the rise, see Mullins (2021).
04. Izanagi’s purification rituals after his failed attempt to rescue Izanami result in the
birth of Amaterasu, the principal goddess of Japan and symbol of the nation as the
“Land of the Rising Sun.”.
05. This is discussed in Green (2020).
06. There is much evidence throughout the series and movie that Got
oge drew on
traditional folklore. For example, at the end of many episodes in the series, Tanjiro is
portrayed as talking about various encyclopedias of y
okai.
07. For example, this depiction appears in the influential Abhidharmako
sa-bh
asya by
Vasubandhu (4th to 5th century CE).
08. In an interview, an editor of Jump explained that Got
oge had doubts about the
portrayal, saying, “I think we should cut out that hand-holding scene because it doesn’t
seem like a boys’ manga.’’ When he editor heard that, he exclaimed, “Please leave that
in. I’ve never seen a main character like this before. This is Tanjiro!.” Livedoor News.
09. Famous examples of this type of Jataka include the Banyan Deer Jataka, the Mahakapi
(Monkey in the Mango Grove) Jataka, and the Hungry Tigress Jataka.
10. The English subtitles included with the DVD release say, “He has already atoned for
he sin.”
Disclosure statement
No potential conflict of interest was reported by the author(s).
ORCID
Ronald S. Green http://orcid.org/0000-0002-3872-7649
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