---
title: 'THE GLOW UP IS INSANE | Jujutsu Kaisen Season 3 Trailer 2 Animation Breakdown'
source: 'https://youtube.com/watch?v=RjXyslfbEnw'
video_id: 'RjXyslfbEnw'
date: 2026-06-15
duration_sec: 0
---

# THE GLOW UP IS INSANE | Jujutsu Kaisen Season 3 Trailer 2 Animation Breakdown

> Source: [THE GLOW UP IS INSANE | Jujutsu Kaisen Season 3 Trailer 2 Animation Breakdown](https://youtube.com/watch?v=RjXyslfbEnw)

## Summary

The video analyzes the newly released trailer for Jujutsu Kaisen Season 3, praising its visual quality and the creative direction of Shota Goshono. The host breaks down the trailer scene by scene, highlighting standout animation, composition, and artistic choices.

### Key Points

- **Staff Changes** [01:05] — A new assistant director, Taku Sato, was added weeks before release, which the host finds confusing but not necessarily a bad sign.
- **Production Split** [02:10] — The production teams for Jujutsu Kaisen and Chainsaw Man have been largely separated, with little staff overlap between the two projects, which is seen as a positive development.
- **Director's Genius** [04:00] — Shota Goshono's unique framing and composition make every shot interesting, even mundane actions, due to his unconventional approach.
- **Trailer Opening** [05:33] — The trailer opens with a shadowless drawing featuring thick, well-placed lines that add character, setting the tone for the season's art style.
- **Backgrounds and Compositing** [06:02] — Many shots have a photorealistic desaturated look with heavy blurring and distortion, giving a found footage aesthetic.
- **Detailed Close-ups** [06:24] — Close-ups are well-drawn, likely corrected by Yajima, with multi-layered animation and complex perspectives.
- **Character Designs** [07:40] — Yajima's designs are detailed with extra lines, adding depth, and most trailer shots appear to be corrected by him.
- **Art Direction and Compositing** [08:09] — The art direction and compositing keep up with the framing and animation, with multi-layered backgrounds, god rays, and red rim lighting.
- **Animation Flexes** [09:00] — The trailer includes unnecessary but impressive animation, such as hand-animated backgrounds and complex camera movements.
- **Action Sequences** [09:37] — Action shots feature hand-animated cars, dynamic interactions, and techniques reminiscent of animator Yutaka Nakamura, like spiky smears and static afterimages.
- **Maki Scenes** [10:27] — Maki looks her best ever with jaw-dropping art, possibly by Nakaya, with simple vibrant blood and complex background animation.
- **Final Shots** [11:00] — The trailer ends with a partial camera rotation and strong red/blue accents, showcasing Goshono's cinematic style.

### Conclusion

The trailer for Jujutsu Kaisen Season 3 is visually stunning, with every shot demonstrating the creative genius of Shota Goshono and the high level of talent across all departments.

## Transcript

Jiujutsu Kaisen season 3, the show the
entire world is looking forward to is
almost upon us. Almost. We still have a
few more weeks to go. But fear not,
ladies and gentlemen, that won't stop me
from milking it. Never has and never
will. Based on the brand new trailer
they dropped a few hours back as of this
recording, the third season of Jujutsu
Kaisen looks exactly as good as we
expected, if not better. The
star-studded team led by the insanely
creative Shot Goshono is firing on all
cylinders, creating a final product that
looks captivating in every sense of the
word. As such, let's go over this newly
released trailer and break down the
visuals. Or in other more transparent
words, let the milking commence. Make
sure to subscribe. I'll make tons of
Juju Kaisen content in the near future.
So, if that sounds enticing to you, just
press the subscribe button. It takes a
second and it helps out a lot. You can
also become a member of this channel.
members get at least two exclusive
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emojis, shoutouts, and more. Just go
down there and press the join button.
So, we'll go through this trailer scene
by scene in a bit, but as always, let's
start with a few general things. The
staff, for example. I know I've already
gone over the core team behind this show
before, and trust me, I won't dwell on
it for too long, but there are a few
things I have to mention. Firstly, we
now have a new assistant director in
Studio Mapa regular Taku Sato. a
confusing addition that I don't really
understand to be honest. Look, an
assistant director is supposed to be an
important part of a production. He or
she is on paper the second most
important staff member, someone who
stays with a project from beginning to
end. As such, I think them randomly
adding an assistant director to the
staff list me weeks from the release
date is bizarre, especially because the
show already had an assistant director,
Yusketaka. So, it's not like the credit
itself is new. Now, yes, this probably
isn't a big deal. There probably is a
valid reason behind Sato's addition that
doesn't lend itself well to Doom
posting. Maybe he just didn't want to be
credited initially. Maybe his influence
is limited to the second core, which
should still be in its early to
mid-stages of production. I don't know.
It's just interesting and slightly
confusing, so I thought I'd mention it.
Maybe it has something to do with the
visuals. Besides that, we now have a
better idea of the staff division
between Chainsaw Man and Jiujitsu
Kaisen, thanks to both IPs receiving
theatrical adaptations recently. Quick
recap in case any of you are new to this
whole fiasco, Jiujutsu Kaisen and
Chainsaw Man are produced by what is on
paper and up until recently in practice
as well, the same production line.
That's the reason why the two projects
have such a large amount of staff
overlap or at least they did in the
past. It is however practically
impossible to produce both projects
sequentially by the same team. They
tried with JJK season 2 and CSM season
1, but let's just say they didn't
succeed. As such, the most reasonable
course of action was to split the
production team in two and work on both
projects simultaneously. Maybe have some
people work on both would by and large
separate the two productions. This is a
concept I recall pitching a few years
back, so it's not exactly rocket
science. Now, normally a model like this
wouldn't be feasible, but given the
sheer amount of industry-leading talent
this production line led by Gaseki
Sashimo has access to, a soft split
isn't that absurd of an idea. And it
looks like that's exactly what they are
doing. Unsurprisingly, there's very
little staff overlap between Chainsaw
and Resarch and the first two episodes
of Jujutsu Kaisen season 3. The staff
list of which is publicly available
thanks to that early screening thing. At
a cursory glance, I came across multiple
artists who did a lot of work for
Chainsaw Man season 1 did a lot of work
for Jujutsu Kaisen season 2 and either
script the Chainsaw Man movie altogether
or doing very little for it and focusing
on Jujutsu Kaisen season 3 which again
illustrates the divide between the two
teams. Don't get me wrong, Chainsaw Man
Regulars will show up on this show
especially in the latter episodes when
the production gap between the movie and
the second season comes into play. I'm
almost sure of it. But by and large, we
have separate teams now, and that's a
very, very good thing. With all that
being said, let's finally go through the
trailer, aka do the thing you guys
clicked for. First things first, though,
let me get this out of my system. Series
director Shota Goshono is a genius. He
is a [ __ ] genius. Under Goshono's
leadership, and if the leaks are to be
trusted due to his storyboards as well,
every single shot looks interesting with
no exceptions. No matter how basic a
concept is, no matter how mundane the
actions are, and unrestricted Goshono
will find a way to make [ __ ] look
interesting, you can bet on that. I have
said this before, Goshono is allergic to
framing things normally, and that's one
of the best things about him. His brain
works in ways us mortals can't even
comprehend. It's insane. Of course,
simply having a creative director isn't
enough. Anime is a collaborative
endeavor. Every single department needs
to hold up their end. Amazing
storyboards are useless if the animation
can't keep up. Amazing compositions have
no meaning if the backgrounds fall
apart. Amazing visual ideas have no
value if the art direction and
compositing can't keep up. You get the
idea. There [music] are plenty of areas
an anime can fall apart in. But
thankfully that's not the case here.
Every single artist involved with JJK
season 3 is going above and beyond to
bring Goshono's grand vision to life.
Every single department is adding to the
final product instead of diminishing it.
It's It's perfect so far. At least it
seems like the highly capable artists
aren't actively being kneecapped this
time around, which hey, props to Studio
Ma. Thank you for not being awful for
once. I hope you guys can keep this up.
Anyway, that's enough glazing. Let's
finally go through this actual thing.
The trailer opened up with this
beautiful shadowless drawing that
perfectly encapsulates season 3's
approach towards character art. The
copious amounts of thick, perfectly
placed lines add so much character to
the drawing. Amazing stuff. We then got
a few miscellaneous shots and this is
where Goshono's unparalleled composition
sense comes into play. The framing is
always depth heavy and volutric. There
are layers of complexity. The character
placements are always quirky and
eye-catching. It's so good. Framing
aside, the style of backgrounds and
compositing around this section really
stood out to me. Many of these shots had
this photorealistic desaturated look and
said look was handled perfectly. It felt
uncanny. The heavy blurring in this
shot, the distortion around the edges
hair, the framing in this skirt. It had
a very, I don't know, found footage
aesthetic, if that makes sense. It was
so cool. We then got a few really
well-drawn close-ups. Yoskeima
corrections, I believe. Some
multi-layered mouse animation of all
things, some fantastic large scale
backgrounds, and this 3D shot of an
entire city with a complex perspective.
At least, I believe it's 3D and not
clever parallaxing. This cut was really
good with the entire bridge being hand
animated frame by frame. They didn't
need to do that. They could have simply
used a background illustration, but
background animation gives a shot that
added bit of depth. Also, some really
good-looking three-tone liquid animation
hair complete with these sketch pen-like
lines. Really cool stuff. We then got
more of those complicated compositions.
Why frame a character jumping normally
when you can frame it from the top down,
making both the background and the
characters significantly harder to draw?
Why frame characters walking normally
when you can place one of their hands
right next to the camera and have it
sway past it, giving the scene
additional depth? The usual goes on
black magic. Basically, you know what
got a chuckle out of me? This shot. You
had these incredibly complex layouts and
then suddenly, bam, the most
stereotypical shownen composition ever
with a speedline based background. One
must not lose touch with their roots, I
guess. Just so you know, this shot had
fantastic drawings and top-notch
animation. and it wasn't bad whatsoever,
just funny. Anyway, speaking of
fantastic drawings, this trailer was
filled with them. Unlike season 2,
Yajima's designs are fairly detailed
with tons of extra lines, giving each
shot more substance, more depth. Plus, I
believe most of the shots shown in this
trailer were corrected by Yajima
himself, so that helps. I loved these
scenes. Initially, I wasn't a fan of the
red outlines, but these close-ups
changed my mind. They looked so amazing.
Particularly fond of this high angle
perspective on Fushiguro complex for no
reason. I love it. I've mentioned it
before, but it bears repeating. It's
insane how well the art direction and
compositing kept up with the framing and
animation. The multi-layered background
pan in this shot looked amazing. The god
rays hair and the accompanying
compositing was a significant step up
from season 2 episode 4. It felt a lot
more organic. The red accent/ rim
lighting hair looked beautiful. The
completely flat look of this shot was
really pleasing aesthetically. The shiny
like pencil lines in this shot,
presumably a compositing effect,
perfectly complemented the wild
distorted flow of form animation. Again,
every single shot had something
interesting going on. I was a huge fan
of these shots. They were so cinematic.
The entire trailer was quote unquote
cinematic, but these shots were
cinematic cinematic, if you know what I
mean. The extreme depth of field
blurring head, the gorgeous background
in this shot so good. Here's another one
of those needless animation flexes. Why
just animate Gojo when we can animate
frame by frame the entire background,
including the window, the bookshelf, and
every single book on it? Why not? And
speaking of why not, why not pan an
entire warped background layer instead
of simply animating Yuji turning? Why
not add background layers both behind
and in front of Uta and pan them
separately for added depth? Why not?
That's the YMO hair. Why not? Also, I
can't get over how good these quote
unquote realistic backgrounds look.
They're so unnerving. I love it. Some
amazing spacious framing, fantastic
drawings and animation, and top-notch
background art and compositing then
brought us to the mandatory action part
of the trailer, which started off with
these two insane shots. The entire car
here, including the interior, was hand
animated, which allowed the also handan
animated Yugji to physically interact
with it, making the action more dynamic.
This was the coolest shot from this
trailer in my opinion. The background
illustration head or the 3D background I
can't tell was briefly interrupted by 2D
background animation. All while the
super background went pitch black. A
very utaka Nakamura thing to do. The
same can be said about the spiky smears
and the static after images. Very
Nakamura. Also loved the black
highlights on the fist. Such a cool
touch. I believe this shot was animated
by Kohi Hirota since he animated
something similar for the second season,
although don't quote me on that. This
shot was great. I loved these thick inky
smears and the acting was quite solid,
albeit ever so slightly stiff. We then
got to the maki scenes and dear lord,
this in my opinion is the best Maki has
ever looked. Absolutely jaw-dropping
art. Quite possibly the work of Nakaya,
especially given that pronounced chin.
Also loved the simple vibrant blood. It
works with the overall aesthetic. This
shot was ridiculous. Not only were the
drawings amazing, not only was the
foreshortening on his arm perfect, not
only was the character animation
insanely high level, the entire
background was hand animated, all while
the camera changed perspectives not just
once, but twice. Mind-blowing stuff.
This shot started with a standard
fisheye background illustration, but
then seamlessly switched to top-notch
background animation. Also, these desks
lead me to believe that this room was
modeled after the actual studio
building, not the first dot. The second
time they've done something like that.
Again, for the millionth time, just look
at these compositions. The background
perspective here, the backlit camera pan
in this shot, Koshao cinema. The trailer
finally ended with this cool partial
camera rotation complete with the strong
red and blue accents. Amazing stuff. And
that was the trailer. Again, not a
single filler shot. Absolutely brilliant
from front to back. It was Shota Goshono
at his best. And that's it. I won't tap
on for too long. I'll get plenty of
opportunities to do so next month. So,
let's call it a day for now. A special
thanks to Node 03, Ahmed, and the Galas
90 for becoming tier three members. And
until next time.