Dororo (2019 TV series)

Dororo (2019 anime)

Company type	Anime television series
Industry	Animation
Founded	2019
Founder	Tezuka Productions, MAPPA
Headquarters	Japan
Area served	Worldwide
Key people	Kazuhiro Furuhashi (director), Manabu Otsuka (producer)
Products	Anime series
Owner	Tezuka Productions, MAPPA

Dororo is a 2019 anime series produced by Tezuka Productions and animated by MAPPA, adapted from the manga created by Osamu Tezuka. This work serves as the second anime rendition, following the original 1969 adaptation. Although it introduces certain differences, it preserves the essential narrative centered on Hyakkimaru, a young ronin, and Dororo as they confront demons in Sengoku-era Japan to recover Hyakkimaru's missing body parts.

In this version, Hyakkimaru is portrayed as a more fragile samurai, highlighting his growth alongside Dororo in a relationship reminiscent of classic buddy stories. Directed by Kazuhiro Furuhashi, the series was made available worldwide through Sentai Filmworks and Amazon Prime platforms.

Receiving widespread critical praise, Dororo was often ranked among the top anime of 2019. Reviewers commended the intricate character development and the evolving bond between Hyakkimaru and Dororo, as well as the exploration of Hyakkimaru's familial history. Some critiques were directed at later episodic storylines for not matching the intensity of earlier chapters.

Plot

Set during the Muromachi era, a feudal lord offers his newborn son's organs and limbs to twelve demon gods in exchange for prosperity. The infant is abandoned but rescued by Jukai, a doctor specializing in prosthetic limbs, who adopts him and equips him with artificial body parts. As he matures, the boy develops the ability to perceive demons' silhouettes and battles them. After defeating his initial foe, he regains his sense of pain. Named Hyakkimaru by Jukai, he sets out on a quest to reclaim his stolen body parts.

During his journey, Hyakkimaru encounters Dororo, a child who trails him and imparts survival and fighting skills in return for food. As they confront demons together, Hyakkimaru recovers his hearing and falls in love with Mio, a young singer forced into prostitution. When enemy soldiers kill Mio along with the orphans she cared for, Hyakkimaru's fury drives him to eliminate all but one of the attackers. Dororo soothes him and gives him rice from Mio, which he keeps close.

Hyakkimaru comes face-to-face with his family: father Daigo Kagemitsu, mother Nui no Kata, and younger brother Tahomaru. Daigo fears that Hyakkimaru’s full recovery will lead to ruin and makes failed attempts to kill him. As Hyakkimaru becomes increasingly fixated on restoring his body, Dororo grows worried after a village is destroyed. Jukai advises Hyakkimaru to depend on others to prevent being overwhelmed by anger; he chooses to trust Dororo, who had previously left him.

When bandits capture Dororo while searching for her father’s hidden treasure, Hyakkimaru pursues her and briefly clashes again with Tahomaru. Although his feelings for Dororo deepen, Hyakkimaru falls into rage when unable to save her from drowning due to his lack of real arms. Returning to Daigo’s village to recover his final body parts, he battles Tahomaru along with Mutsu and Hyogo—both also bound by demon pacts. Following the deaths of Mutsu and Hyogo, Hyakkimaru regains his arms and fights Tahomaru amid a burning castle.

Understanding their shared suffering, Hyakkimaru spares Tahomaru, who blinds himself so that Hyakkimaru can regain his sight. Nui no Kata and Jukai guide him back to Dororo before dying alongside Tahomaru in the castle fire. After Daigo’s domain is destroyed, he once again offers sacrifices; however, Hyakkimaru chooses mercy, believing both can find redemption. Utilizing her father’s treasure, Dororo rebuilds the village while Hyakkimaru pursues Mio’s dream of cultivating farmland. The story concludes with an adult Dororo joyfully welcoming back Hyakkimaru.

Main cast

• Hyakkimaru. Portrayed by Hiroki Suzuki and Adam Gibbs. Due to the character’s limited dialogue, Suzuki received support from MAPPA during recording sessions. He emphasized Hyakkimaru’s developing bond with Dororo, likening it to a buddy movie dynamic, and highlighted the series’ exploration of humanity as Hyakkimaru gradually regains his body parts. Suzuki tailored his performance to avoid an overly ikemen tone, instead focusing on the character’s appeal in his exchanges with Dororo.
• Dororo. Voiced by Rio Suzuki and Chaney Moore. As the youngest cast member, Suzuki welcomed the challenge and was eager to bring to life Dororo’s relationship with Hyakkimaru.
• Biwamaru. Voiced by Mutsumi Sasaki and James Belcher.
• Daigo Kagemitsu. Voiced by Naoya Uchida and David Wald.
• Tahōmaru. Voiced by Shōya Chiba and Blake Jackson.
• Jukai. Voiced by Akio Ōtsuka and Ty Mahany. Notably, Otsuka had previously voiced Daigo Kagemitsu in the 2004 video game adaptation.
• Nuinokata. Voiced by Chie Nakamura and Patricia Duran.

Concept

Producer Manabu Otsuka highlighted that the heart of Dororo lies in the evolving relationship between Hyakkimaru and Dororo, setting this adaptation apart from its predecessor. Although the series includes intense moments, their interactions serve as emotional relief for viewers. Working alongside draft artist Hiroyuki Asada and character designer Satoshi Iwataki, Otsuka sought to captivate contemporary audiences through refreshed designs that merge Tezuka’s original style with a softer modern animation aesthetic. Being a fan of Tezuka’s creations himself, Otsuka appreciated having director Kazuhiro Furuhashi, renowned for works like Rurouni Kenshin and Altair: A Record of Battles, lead the project.

Scenario

The character design process presented the greatest hurdle for the creative team. Hiroyuki Asada led this effort, driven by his respect for Tezuka’s legacy. Kobayashi acknowledged familiarity with the title but had not previously read the original manga. Initially, Asada’s Hyakkimaru appeared older with many graphic expressions, which Furuhashi considered overly cute and excessive. Consequently, Asada revised the design to more closely resemble Tezuka’s original vision. Kobayashi preferred this iteration, finding it easier to connect with during storyboarding and scriptwriting phases. In contrast, Dororo’s design was simpler in comparison. Kobayashi remarked that a single musical piece could dramatically shift the tone; Dororo utilized sparse dialogue paired effectively with heavy music, which left a strong impression on him. Asada regarded the series as a historical drama focusing on Hyakkimaru’s journey of bodily restoration, with his first spoken line appearing only in episode five.

Furuhashi found directing demanding due to depicting a younger, more innocent Hyakkimaru than in the 1969 version. Although episodic in nature, several stories focused on Daigo’s family to intertwine their narrative with Hyakkimaru and Dororo’s path. Furuhashi studied other works by Tezuka and collaborated closely with Yasuko Kobayashi to achieve an authentic setting portrayal. As Hyakkimaru regains body parts, his first restored limb allows him to experience pain for the first time. Preferring subtle storytelling over overt exposition, Furuhashi cited episode 18 and the gradual development in Hyakkimaru and Dororo’s relationship as pivotal for deepening Hyakkimaru’s character arc.

Asada described Hyakkimaru’s slender physique as emphasizing a "ball-jointed doll" aesthetic, with thin eyebrows reinforcing this concept. Voice actor Akio Otsuka noted that unlike previous adaptations where prosthetic limbs are replaced seamlessly, this version uniquely portrays Hyakkimaru losing his healthy leg—highlighting this adaptation’s distinctive approach.

Audio

Producer Otsuka promptly agreed to collaborate with composer Yoshihiro Ike, whom he had known since their work together on a 2016 stage production. Sound director Kisuke Koizumi highlighted that Dororo utilizes just 30 background music tracks throughout its two cours, prioritizing dialogue and facial expressions to express emotions. The soundtrack carries an epic tone suitable for the historical drama, while MAPPA focused on intricate sound effects, such as subtle character movements, to heighten audience immersion. Composer Ike encountered several demanding requests during the creation of the score.

The opening theme is performed by Queen Bee, with the ending theme by amazarashi. "Kaen" incorporates dance metaphors linked to the vocalist’s background and integrates Japanese musical influences through choral techniques rather than conventional instruments. The rap segment introduces a lively contrast. "Sayonara Gokko" delivers a gentle mood that mirrors Hyakkimaru’s personality.

For the second cour, the opening is by Asian Kung-Fu Generation, and the ending by Eve. Masafumi Gotoh of Asian Kung-Fu Generation aimed to pay tribute to Tezuka’s original manga with emotionally resonant music. Eve’s track delves into themes of identity, solitude, perseverance, and emotional complexity tied to Hyakkimaru’s quest to reclaim his body amidst adversity. The lyrics reflect his character development.

Themes

Set against the backdrop of the chaotic Sengoku era, the anime delves into the devastation of war and men’s religious commitments. According to Crunchyroll, it places strong emphasis on Buddhism, portraying demons as threats to society that often incite violence. The courageous Hyakkimaru confronts intricate socio-political challenges, while Daigo’s allegiance to demons exemplifies changing Buddhist perspectives.

Anime News Network observes that the series tackles war’s consequences, including casualties across generations and widespread destitution among villagers. Although yokai beliefs predate Buddhism in Japan, both coexisted historically; this is illustrated by Daigo sacrificing his son to yokai while Buddhism ultimately saves him. The opening episode shows a Boddhisattva Kannon statue losing its head when Hyakkimaru is rescued.

Tor.com draws parallels between Hyakkimaru’s story and narratives by Ursula K. Le Guin, focusing on Daigo exploiting his son’s body for gain. While Hyakkimaru’s mission risks disorder, he refuses to be manipulated, seeking relief from suffering—a conflict mirrored in characters like Jukai and Dororo shaped by warfare. The site compares Dororo with Le Guin’s The Ones Who Walk Away from Omelas, emphasizing themes of regret and children’s self-expression.

Biggest in Japan interprets Hyakkimaru’s journey as a reversal of the typical hero's journey—he becomes physically diminished rather than empowered. His tragic relationship with Mio and deepening friendships enrich his character, showcasing his evolving sense of self amid ongoing conflicts.

Release

The 24-episode anime aired from January 7 through June 24, 2019, on Tokyo MX, BS11, and Jidaieki Senmon Channel, with exclusive global streaming via Amazon Prime Video. The episodes were later compiled into two Blu-ray sets released in Japan on May 22 and August 21, 2019.

Under the direction of Kazuhiro Furuhashi, series composition by Yasuko Kobayashi, character design by Satoshi Iwataki, and music composed by Yoshihiro Ike, production was handled by Twin Engine. The soundtrack was made available on August 14, 2019, in two versions. Additionally, a guidebook featuring artwork by Hiroyuki Asada was published in Japan on August 2, 2019.

Sentai Filmworks secured licensing rights for English-speaking regions in March 2021, covering distribution across the United States, Canada, United Kingdom, Australia, New Zealand, South Africa, Latin America, Spain, Portugal, Netherlands, and Nordic countries. Sentai released the Blu-ray edition on June 29, 2021. Distribution in Australia was managed by Madman Entertainment starting October 6, 2021. In Southeast Asia, Medialink obtained licensing rights and streamed the series on the Ani-One Asia YouTube channel.

Reception

Anime News Network included Dororo among MAPPA's standout productions and ranked it as one of the premier anime titles of 2019. In Japan, the initial Blu-ray release sold 1,912 copies. At the 4th Crunchyroll Anime Awards, Hyakkimaru received nominations for Best Protagonist and Best Boy, while the ending theme "Sayonara Gokko" was up for Best Ending Sequence. Additionally, Satoshi Iwataki secured the award for Best Character Design. Forbes recognized Dororo as one of the decade’s finest series, and Thrillist featured it among the top anime available on Amazon Prime as well as among the best of the 2010s, commending its dynamic action sequences, thematic depth, and visual artistry.

Initial critiques lauded MAPPA’s animation quality and the refreshed depiction of Hyakkimaru and Dororo’s characters compared to Osamu Tezuka’s original manga. The sorrowful relationship between Hyakkimaru and Mio attracted attention for its abrupt progression and dark subject matter, including Mio’s role as a prostitute. Although the storyline follows a "monster of the week" structure, reviewers emphasized Hyakkimaru’s gradual self-discovery as he recovers his lost body parts, a process deeply influenced by his connection with Mio.

The narrative background of Dororo was acknowledged for illustrating resilience in the face of parental loss, showcasing a transformation toward greater strength for survival. The encounter with bandit Itachi introduced nuanced moral ambiguity, contrasting their protective alliance with Itachi’s brutal disposition. Episodes delving into Shiranui’s complex yet tragic obsession with his victims added layers to character development, particularly highlighting Hyakkimaru’s compassion toward Dororo and Jukai. Subplots exploring Dororo’s interactions with Hyakkimaru and Hyakkimaru’s rivalry with his brother Tahomaru were praised for adding depth to the central storyline.

Regarding the conclusion, Manga.Tokyo expressed dissatisfaction with Hyakkimaru’s animosity toward Daigo, favoring a stronger emphasis on the protagonists’ profound relationship rather than tragedy. Anime News Network critiqued the finale for feeling hurried, especially in its treatment of Dororo’s ambiguous gender identity, but applauded Hyakkimaru’s character growth evidenced by his decision to spare his family members. Fandom Post questioned certain narrative decisions concerning family outcomes and ongoing Sengoku-era conflicts but praised MAPPA's enhancements to Tezuka’s original character portrayals despite some production shortcomings.

Popzara drew attention to the series’ graphic combat animation, while Fandom Post observed that episodes focusing more on character development were stronger, though some viewers experienced fatigue in the latter half due to an overwhelmingly powerful protagonist and less compelling plotlines. Although the animation consistently received commendation, episode 15—directed by Osamu Kobayashi—elicited mixed reactions. UK Anime Network suggested that a more cohesive narrative structure might have improved Dororo, yet recommended it to enthusiasts of series like Berserk and Demon Slayer: Kimetsu no Yaiba for its intense action sequences and storytelling approach.

External links

• Dororo official website (Japanese)
• Anime News Network