---
title: 'Animation Analysis + Staff Spotlight | Jujutsu Kaisen Season 3 Teaser'
source: 'https://youtube.com/watch?v=cCEnLFA63Uo'
video_id: 'cCEnLFA63Uo'
date: 2026-07-28
duration_sec: 1712
---

# Animation Analysis + Staff Spotlight | Jujutsu Kaisen Season 3 Teaser

> Source: [Animation Analysis + Staff Spotlight | Jujutsu Kaisen Season 3 Teaser](https://youtube.com/watch?v=cCEnLFA63Uo)

## Summary

The video analyzes the Jujutsu Kaisen Season 3 teaser trailer, focusing on the concept of magical realism in animation and the impact of key staff members like series director Shōta Gosso. It discusses how the production quality has improved compared to Season 2, despite ongoing industry challenges.

### Key Points

- **Escapism and Realism in Media** [0:00] — Human beings crave escapism, but hyperrealism can be boring; surrealism can be unrelatable. The sweet spot is magical realism: impossible scenarios executed in a realistic way.
- **Magical Realism Defined** [1:07] — Magical realism involves impossible scenarios presented with realistic execution, making them feel tangible. Examples include Utapon's animation and the contrast between Thunderclap part one and part two.
- **Chainsaw Man vs. Jujutsu Kaisen** [2:36] — Chainsaw Man Season 1 emulates realism perfectly; the movie dials up expressionism. Jujutsu Kaisen Season 3, led by Shōta Gosso, aims for ambitious, fascinating content 100% of the time.
- **Gosso's Role as Series Director** [3:30] — Gosso supervises all elements: art direction, compositing, music, sound, and animation. His hands-on approach is evident in the Hidden Inventory arc, but the schedule limited his supervision during Shibuya.
- **Season 3 Production Improvements** [4:50] — Season 3 has a stable core staff and better scheduling, allowing for unified directorial vision. Art direction and compositing are the best in the series, with character designs by Yōsuke Yajima and Hiromi Niiwa.
- **Staff Changes and Continuity** [10:12] — Assistant director changes from Toyota Ike to Yōsuke Takada. Composer Yoshimasa Terui remains. The production pipeline is still broken but improved, with more time for each project.
- **Critique of Release Gimmicks** [14:36] — Early episode releases strain production. Examples like Dandadan and Frieren show negative effects. The speaker criticizes producers prioritizing profits over production health.
- **Trailer Animation Analysis** [16:39] — Detailed breakdown of the trailer: art direction, compositing, character corrections, effects animation, and specific animator styles (e.g., Shinsaku Kozuma, Rui, Hayate Kurasaki).

### Conclusion

Jujutsu Kaisen Season 3 promises to be a masterpiece with improved production conditions and a talented staff, though industry challenges persist. The trailer showcases exceptional animation and directorial vision.

## Transcript

It's no secret that human beings crave
escapism. Anything that separates us
from our boring, miserable lives allows
us to keep going on with our boring,
miserable lives. So, we seek out
immersive worlds in other media. And
while such immersive media can be really
intriguing because of the technical
progress that goes into making it so
hyperrealistic, it can also be boring.
I play games to escape reality, not to
be annoyed by it. So, what about the
other end of the spectrum? Surrealism.
it is. Then this is not possible in real
life whatsoever. I can only do this in a
video game and that's boring. If you
remove any semblance of realism
whatsoever, that piece of art is no
longer relatable. If it's not relatable
whatsoever, it's not possible to get
invested in it. I don't want to drive a
hypercar with zero sense of speed
worried about fuel consumption and tire
wear. Neither do I want to do barrier
rolls on a hypercar cuz that is
absolutely impossible. But so is driving
a hypercar through a thunderstorm.
However, something's different here. The
presentation of the impossible here is
realistic. Raindroplets are not that
big. However, the physics with which
they sway left and right look absolutely
stunning. This is realism with a splash
of expressionism thrown in there.
Magical realism. The idea of coming up
with impossible scenarios, but then
executing it in a way that feels real.
And the appeal that this magical realism
has, it can translate to animation as
well. It's one of the things that makes
Utapon's animation so appealing. He
constantly drops you into settings that
make no sense. But he animates
everything in it realistically as if it
could exist in our world. Look at this
space. It physically makes no sense. Why
is there no floor? Why is the background
this color? But what if you draw a
character running realistically through
the space? If a goo monster slowly
reformed its body, what would that look
like in real life? A boy hanging off the
face of a dragon. It's impossible. But
even then looking at this animation some
part of your brain goes holy [ __ ] that
is so realistic. That contrast of
realism is incredibly appealing. Now
this magical realism as I call it it
does fall in a spectrum. Examples I
could use to explain this is Thunderclap
part one and Thunderclap part two. The
spaces that Nakaya onen and Miso
constructed for Thunderclap part one.
All of them physically make sense. Yes,
a bunch of buildings melting together.
It's unrealistic, but if it did exist,
this is probably what it would look
like. Our brains understand that. For
Thunderclap part two, on the other hand,
Hakugo immediately drops you into a
space that makes no sense. Why does the
background slowly shift from floor level
to the side of a building in between the
fight? It makes no sense, yet it is
grounded in absolute realism because
look at these movements. The body
dynamics of the characters still have
weight. Chainsaw Man season 1 is
incredibly technically impressive
because it emulates realism to such a
perfect degree. Chainsaw Man's movie
dials up the expressionism to a degree
where you still feel like it's
technically impressive because of how
realistic it is, but the action scenes
are just more fun to watch. Shono has
put Jiu-jitsu Kaisen season 3 at the
extreme end of the spectrum. He's
dropping us to a world that he's
constructed. There are unique and
unrealistic colors that exist in this
world and yet all these elements are
grounded using realistic rules that make
sense to us. Due to Kaisen season 3's
core staff mostly remains the same. It
is still led by the most visionary,
ambitious director of our generation,
Shiro Jizono. It would be on the same
level as if Atsushi Kabayashi or
Toshiuru directed the entirety of Naruto
instead of individual episodes or if
Hakugo or Miso directed a whole series.
I guess it is also happening with Fate
Strange Fake, but you can't really call
that show a proper series now, can you?
But yes, what can you expect when a
highlight director is the series
director? You'll get a show that is
trying to be ambitious and fascinating
100% of the time. Series directors
supervise the entire project and
supervise every single element of the
entire project whether that's art
direction, the compositic, the music
direction and sound direction and with
action animators turned directors like
Shushono of course he supervised the
action animation and the animation
direction as well. Gosso's supervision
as a series director can be best seen in
the hidden inventory arc. He was very
hands-on with the first five episodes of
season 2. So even though every episode
of H inventory arc was directed by
different artists, you could absolutely
still make out Shotokuno's sensibilities
within these same episodes. The
atrocious schedule of season 2 didn't
allow him to maintain that level of
supervision throughout the show. For the
Shibuya, he basically went back to his
role of episode director while also
doing a lot of emergency key animation,
emergency direction, and also some
highlight animation thrown in there as
he's still a [ __ ] insane artist. For
the Culling Games teaser, it just looks
like every single shot was supervised by
Gosso, which kind of checks out because
from my understanding, most of these
shots are from episode 1, which is
almost always storyboarded and directed
by the series director. So, in this case
being Gosso, but expect the base level
of quality for season 3, to be the same
as that for the first five episodes of
season 2, which is incredible cuz that
arc was a masterpiece, quite possibly
the best produced arc in modern shownen.
Now, Gossu's hands-on supervision does
not mean that you're not going to see as
much experimentation as season 2. What
Gossu is going to provide as a series
director is an incredibly ambitious base
for experimentation and also super
highquality supervision that comes with
all of his experience. There are
definitely going to be episodes where
he's going to be mostly handsoff because
there are going to be other equally
ambitious episode directors in this
project. God, I'm so excited for it. His
skill with direction does not end with
the visual elements. The director is
supposed to supervise everything and you
can tell that in the trailer. This is
the best art direction and compositing
that Juditsu Kaisen has ever had. Even
though the staff in that regard remains
unchanged from season 2. It's just that
the team couldn't focus on these two
elements while producing season 2
because 17 out of season 2's 23 episodes
were being worked on days before they
went on air. I am not even exaggerating.
But here the compositing, the art
direction and the animation can be
unified under a proper directorial
vision. The other things that have
changed is the art style itself. The
character designs have changed. Season
2's character designs were great. Hakoso
provided a really good base for the
artist to work with, but it wasn't
really the most impressive from an
aesthetic sense. This is not me
disparaging Asia Koso. Absolutely. Now,
she's an incredible artist, but it was
in the same vein as the art direction
and compositing in the sense that the
goal was just to provide something for
the animators to start working. Kosiso
was picked because she was a character
designer alongside Hiamatu in season 1.
So, she's most familiar with the designs
and can provide a solid easy to work
with base. And they were just really
good on model designs. They were not
trying to be ambitious, unique, or
idiosyncratic, which of course didn't
matter because everyone did whatever
they wanted with her designs anyway,
including Saiaka Koso herself. As the
season progressed, we could see Koiso's
art style evolving, especially with the
Blu-ray covers that she drew. These look
absolutely nothing like her own
character designs. Season 3, the common
recurring theme is to treat every single
element as a work of art that can be
pushed to its limit. There were six main
chief animation directors for season 2
or at least it started off as such.
Takusho Shimizu left after the fifth
episode to most likely work on Chinsaw
Man. Technically, she did contribute in
Shibuya arc. She made this wonderful
Megumi drawing, but for the actual
anime, she didn't actually do anything.
The rest of the names were significantly
important to the production, especially
Yoshi Yajima and Soazaki who did
absolutely unfathomable levels of work.
Yamasu displayed his talent as a
character designer almost instantly. He
almost always did his own thing or what
the episode director expected out of
him. Whereas Yuzuki Aajima was focused
on elevating the base character designs.
He was never really displaying his own
artistic idiosyncrasies, but his
impressive artistic sense could
immediately be spotted. This looks like
it's faithful to the character design,
but it has its own yosima appeal.
Whereas this is just a complete
transformation of the design by Nakaya
onen. And that's just what these artists
usually do. Yuki never did that. Even
when he drew with a ridiculous level of
detail, he kept the aesthetic of the
base designs in mind. So, I was really
excited to see what his interpretation
of the designs would look like. And
guess who the character designer is for
season 3? Yajima's designs look
absolutely stunning. Yajima's
corrections were exclusively composed of
full even lines with very sharp
features, which definitely makes the
lives of Dogemen much easier cuz all you
have to do is trace those simple lines.
Whereas if I was a dog man and I saw
this drawing, I would be [ __ ] crying
which wouldn't matter at the end of the
day cuz Soaut Mazaki would do the dog
himself. Here the designs that Yajima
has created itself has uneven lines and
it it's rendered so beautifully. The
appeal in this animation is the fact
that it's handdrawn animation and the
raw unprocessed nature of this line art
just boosts that appeal. The most
impressive thing about this is just that
these are the base designs. This is what
the drawings made by the character
designer looks like. The base level is
this astronomically high which just
means that every drawing will look good.
Yajima is not the only designer
involved. There are two character
designers. You might be expecting
another name from this list. But no,
this artist was not credited as one of
the main chief animation directors for
the project. It rarely happens where you
have to change the credit after the show
airs. But honestly in this is one of
those rare cases where it should have
been done. And I'm talking about Hiomi.
Na was not credited as a chief animation
director because she was not a chief
animation director when the project
charted up. She was a recurring
animation director even for season 1 of
Jutsu Kaisen. For season 2, she
continued with the same working as an
animation director. Halfway through the
production, however, she made her chief
animation director deb alongside the
affforementioned Yosi and Raina. Then
she appeared once again as a chief
animation director for the last four
episodes back to back chief animation
director for four episodes in a row
because the last four episodes were the
absolute extreme of brute forcing, the
tail end of the worst TV anime
production of all time. But the point is
all the other people who worked as chief
animation directors for all the episodes
were usually a combination of these
names. In rare cases, we did have guest
chief animation directors like episode
14 with Totos and Shun. They probably
just moved their chairs from the
Chainsaw Man side to the Jiujitsu Kaisen
side to work on this episode. But yeah,
they did not consistently keep appearing
in the last four episodes as well. Well,
there was one exception in Yuruko Ishi.
All the other names credited as were a
combination of the main chief animation
director's name with the sole exception
of Hiominiba. So yeah, she was basically
one of the main chief animation
directors for season 2. She was just not
credited as such. She was just so
skilled and familiar with Jiutsu Kaisen
that she was allowed to take up that
role halfway into the project. And now
she's a casual designer alongside Yosuki
Hajima. From the sequences in the
trailer, it looks like most of the UT
sequences were corrected by Neva and the
Eugis were corrected by Yajima to
further create a dichotomy while they
fight. It's a poetic production. Of
course, it's going to be with Gosso as
the head. Neva has drawn Yugji as well.
I mean, this KV is just a testament to
her skill. Another change with the core
staff list is the assistant director
Toyota Ike being replaced by Yosukada.
I'm assuming it's because Ike was just
busy acting as a chief director for
Mono, which by the way, incredible
production. Just have to point that out.
And the best possible person to replace
him is Yosukakada. The first proper
Gosso high-profile episode was episode
17 of Jiu Kaisen season 1, which was
followed up by episode 18 by Yosuket
Takada. Go then directed season 2,
episode 1, which was followed up by
Yosuk Takata's episode 2. Gosso then
directed episode 9 of season 2 which was
followed up by can you guess episode 10.
He's also directly worked alongside
Gosso with episode 18 where he processed
the storyboards alongside him.
Regrettably a very broken episode
because of the schedule. The rest of the
core staff remain unchanged. I'm
particularly happy about Yoshi Master
Tui staying as a composer. In episode 8
of Chainsaw Man, we saw the best
utilization of Kenuk Ushio's score.
And watching the trailer for season 3,
it's pretty much guaranteed that Gosso
is going to be doing the same with
Tedui's music.
We still don't know what the full extent
of the core staff is like, you know,
more chief animation directors maybe. We
don't know who the main animators are
going to be. I'm assuming Kosuk Kato
might not be back because he was busy
with the IBA and the other three main
animators definitely has some level of
contribution in the Chainsaw Man movie
as well. But the production pipelines in
Mapa is still completely broken. Uh it's
not really accurate to say that. It's
more like they've never existed in the
first place. And while that is still
technically a bad thing, it is no longer
as awful as it was before. What I mean
by the production pipelines not existing
is that MAPA operates in a way such that
they put whatever stuff is available on
whatever project at whatever time they
need them to be there. That is not
necessarily a bad thing. It is howable
operates for example and they're doing
great. It's just that they simply have
more time for each project. And for the
first time in forever, MAPA has that
too. Splitting production lines can also
have their demerits like Mob Psycho
season 3 for example. We got one Utapon
scene for the show. I wanted more Utapon
scenes. Utakan Nakamura himself wanted
more Utapon scenes. He loves the project
so much and wanted to work on it so
desperately that he ended up
contributing with second key animation
just to have his name attached to the
project once again cuz the production
lines between Mobs 100 and My Hero
Academia are split and he has to focus
more on My Hero Academia. But in Studio
Mappa's case, even though Mazaki is a
chief animation director for a bulk of
the Chainsaw Man movie, I wouldn't be
surprised if he appears on Jiujitsu
Kaisen season 3. Conversely, I also
wouldn't be surprised if Yajima did
something for Chainsaw Man, though his
presence is not really needed there. The
staff list is [ __ ] insane after all.
Basically, what I'm getting to is that
the Sichimo team has such an insane
range of staff. They can definitely be
split for the most part into two
different project. And as long as these
two projects have enough time available
for production, all the animators and
animation directors can just work on
both of them as there are going to be
buffer periods during the production.
keywords as long as both of them have
enough time. Jujutsu Kaisen season 2 was
produced in a particularly unlucky time
because what it was following up was a
TV anime production of Chainsaw Man.
Also, they did not have a core staff.
So, it was the classic mappa technique
of building a new production line out of
an existing production line and making
an anime out of it. This time, you have
a base because the jiu-jitsu kaizen
season 2 staff are still here. The
Chainsaw Man season one staff are still
here for the most part and you're
following after a movie production, not
a TV anime production, which is also
greatly beneficial. It's going to
release in January. Is that a healthy
production? No, there's no way that's a
healthy production. But it's more in the
line of classic anime industry bad like
how Frein is a struggling production.
Like how My Hero Academia is a
struggling production. It's no longer
mapper levels of bad. And that is fine.
And considering the staff that's on
board, this is definitely more than
enough time for them to create a
masterpiece. It might not be perfect,
but that's basically every project in
the anime industry. But I do feel like
this production line is going in a
better path, especially because it might
not even just be a single production
line anymore. Neither Chainsaw Man Movie
nor Juju Kaisen season 3 have revealed
who the animation producer is going to
be. And Quesog Sashima was promoted to
an executive officer at MAPA. So any of
the production assistants who worked
under him might have been promoted to
animation producers now. So all we know
JJK and CSM might have two different
animation producers with Sichimo just
acting as the head. And regardless of
whether you're working with the same
talent pool or not, having different
animation producers is always going to
be beneficial for two different
projects. And January sounds good for a
single core, unless they throw some
release gimmicks in there.
Why do they do this? Episode one of a
project is a special project is the
prime opportunity for the core staff to
show everything that they have. which is
why it's usually directed by the series
director, which is why usually it's
corrected by the character designers.
So, these dumb [ __ ] release gimmicks
do nothing but unnecessarily strain the
project. Episode one of Heavenly
Delusion, for example, had a production
schedule of two [ __ ] years. They're
not just producing one episode. They're
laying out the identity for all the
future episodes. Particularly, cutting
short the schedule for episode 1 for a
[ __ ] release gimmick only puts strain
on the production. I might have to make
a whole video on this cuz it it
completely [ __ ] sucks. When has this
ever worked out? Demon Slayer has first
episodes grouped with other episodes and
released in form of movies. Sure,
produced in a specialized studio like
you with strong in-house culture. Do the
same with Dandelan. What do you get? A
completely [ __ ] up production. While
Ever Garden can release the first four
episodes simultaneously in a specialized
TV slot, producing Kyoto Animation, the
studio that finishes production months
before the first episode airs. Breen
does the same thing and what happens? A
[ __ ] up production. No [ __ ] The
producers are looking at the release
gimmicks and only thinking about the
possible profits. Release gimmick can
only exist in gimmick studios. And yes,
your portable and cyto animation could
be called gimmick studios. I'm not
saying that in a negative way. I'm
saying that in a positive way. In the
vast hellscape of the anime industry,
having good working conditions is a
gimmick. The only thing it does is
negatively affect the show. Some shows
can't even figure out what their gimmick
is before releasing. Like [ __ ] fade,
strange, fake. At best, this November
release of the first two episodes didn't
negatively affect the production, but it
undoubtedly put some level of strain on
the project that did not need to exist.
People are blaming Demon Slayer and
Evotable for this. But are they really
at fault? If your studio is built in a
way such that it facilitates making more
profit, why the [ __ ] wouldn't you do it?
The problem with other studios is that
they only look at the latter half of
that sentence. I'm sorry. I'm just
really annoyed by this goddamn movie
release gimmick. It is what it is. What
are you going to do about it? Let's just
finally talk about the actual animation
in the trailer. All right, literal first
cut from the trailer. And look at that
art direction. The anime is supposed to
adapt and elevate. This is what doing
both looks like. If you put the manga
panel side by side, I mean, there really
isn't much competition here, is there?
The position of Yugji is changed with
respect to the manga as well. This was
definitely a deliberate decision to
parallel where Gojo was sitting in
episode 5. The art direction is
absolutely gorgeous. The glass painted
window and the red coming through it,
the reflection of that red on the tiles,
it's surreal in the sense that a red
space like this doesn't make any sense,
but it is also tangible. It's also
realistic. I've never seen the sky in
this shade of red. But for creating that
artistic mood, realism can be dropped.
So, while this space makes no sense, if
this space existed, this is exactly how
it would look. When you talk about the
sky in my hurricane looking bland, the
usual retort that the fans of the show
throw is, "Isn't the sky supposed to be
blue?" That is called missing the point.
The sky is supposed to be blue. Yes, but
the sky can also be red. The fact that
it's unrealistic does not matter if
there is a vision behind it. Hm, I
wonder why the sky suddenly turned red
in this shot. Why was realism suddenly
thrown out of the window? You see the
point? Speaking of being thrown out of
the windows, everything is reflected on
the windows as well, right? Every
element of the art direction is
reflected on top of the window. So, we
have a ray tracing on here. The screen
is engulfed in pink light. It's not
entirely engulfed in the light in a way
that literally every element looks pink.
No, but the overall color profile is
pink. Really cool effects animation
here. Lots of granularity in that
effects. And the shot composition is
also incredible. UT just casually walks
in front of the frame. Two different
layers of animation and two different
layers of art direction. You have the
background art all the way behind the
building, which is just the sky. You
have the building itself, which is also
part of the art direction, but on top of
the building, you also have a layer of
hand-drawn effects animation. Then in
front of it is another layer of art
direction. The background painting that
has all these boxes, this cloth, and
then another layer of 2D animation that
walks in front of it. It's a very
ambitious board and wouldn't really be
possible if the compositing and art
direction wasn't completely in tune with
the director. And the thing is, this is
not even that complex with its short
composition. It's difficult to get your
point across if you don't exaggerate
things. Depth, for example, doesn't
exist. It's a 2D medium. There's no
depth. Gosso uses all kinds of fisheye
and complex perspectives to get that
sense of depth across here. It's simply
just art direction and compositing
brilliance here. Even through the
incredibly pathetic YouTube compression,
the shape of the shading within the
smoke definitely looks like something
Hayer Kurasaki would do. All but
confirmed to be working on Chainsaw Man
as well. Just another further proof that
there's going to be a lot of intermixing
between the staff. Starting with great
shots of hands over here. I'm assuming
that's Yuji's hand washing away the
blood. This I don't really understand
the sense of scale. That's either a very
big hand or a very tiny chair. A very
cool shot. It almost looks like 4x3.
It's It's cinemascope, right? Yes, it's
cinemascope, but it looks like it's 4x3
just because of this box framing. You're
looking into a room past these glass
ornaments. There's only one director
who's thinking of shots like these. And
this is just exceptionally beautiful
animation over here. It looks like
something Soaki would do. Here you can
really look at the design language. Very
similar to something like look back.
This is the kind of beautiful line art
that would usually be lost in second key
animation or Doga, but here it looks
beautiful. Of course, it's going to be,
I'm assuming, the first scene in season
1, so it makes sense that it looks good.
And these effects look very much like
Masahiro Tko's effects. The curses are
handdrawn, but they look 3D because of
the incredibly fluid movements, which
again, if it's Tokomo animating, that
kind of checks out. This is not CGI.
That is handdrawn animation. Took is
just that guy. We see another incredibly
beautiful correction. Look at the
strokes of black lines on his hair.
particularly some of it has dyed
outlines but on other cases there's some
strong black outlines thrown on top the
facial shading why is there an
unevenness over here cuz that's how
light usually bounces off someone's face
when you look at my face you can tell
that there's levels of depth to it is a
2D character look at his nose it's two
lines throw this droplet shaped light in
there however and boom you have a nose
it also moves it and moves quite a bit
I'm assuming it was probably just two
key frames for the entire thing and the
rest was completed by doga it doesn't
look like auto in betweening as well
like you portable uses. Same with Megumi
again individual frames that's done
beautifully. I'm assuming just two key
frames again and the rest of it is
filled in by the in between animators.
Lots of subtle acting as well. Like just
look at Yuki moving her face a little
bit. Those are individual frames that's
going to add to the frame count of the
episode. About the background, however,
don't know what the [ __ ] is going on
here. I don't know if that's intentional
or not. It's such an obvious error if
it's unintentional. So, I'm not sure.
They do seem to be in a different
dimension here. They do have red
outlines. Choso is officially a good guy
as well, I'm guessing. Again, just small
subtle movements that you would usually
only see in a movie production. The
crumpling of his shirt as well, the
force of his hands. The illustration of
the hand itself, the shading is so
gorgeous. This is more in line with the
complex layouts that we used to seeing
from Gosso. There's a giant monster in
the background, but that's not the only
thing he wants you to look at. Of
course, there are curses flying in the
foreground as well. This white mirror,
I'm assuming that is Utah landing in
there. And then it's just beautifully
flows into cubic debris. it it's not
utapon cubes but the shapes of the cubes
are very utaponesque. It's definitely
Shinsaku Kosuma's animation. I don't
know who this character is in the
forward. I think it's the same guy who
we see fights Choso later. And yes, this
cut is also once again absolutely done
by Kosuma. He uses a lot of geometrical
squarel-like shapes with his FX
animation and he uses like no depth
outline within those drawings. Like this
smoke has no layer of depth. Like it's
just one layer of smoke. It's like the
exact opposite of Hayatkuraki style. And
I'm assuming that's a metaphorical
representation of UT's hand. Another
case of just adding frames for the sake
of animation. The way his sword vibrates
there looks so cool. That's three or
four frames of animation, right? It's
not really necessary, but it adds
something to the scene. This is funny. I
think they're still using the same CGI
finger model from season 1. It's iconic
at this point, so I'm glad that they're
using it. Another really ambitious shot
composition. There's no pseudo fish eye
effect here, but still, it's a really
good perspective drawing. Multiple
elements to the animation. Again, Eugi's
character model drawn with extreme
realism to the character acting. In the
background, there's lots of effects
animation, but to add to that depth
perception, this background element is
also animated. That is really cool. It
could definitely be a rough 3D model
that is made to look 2D via Go Magic.
Another excellent utilization of 3D
background here with flawless
perspective on Yuji. I love the smears
on the electric lines going upwards as
well. Looking at the debris animation
here, I'm assuming that's still animated
by Kosuma. Yeah, the effect is very
similar to Utapon Cubes, but but there's
really any anticipation with the timing.
The knife just breaks apart in a gradual
manner. These do look like Hiro Miniva's
collections and these look like Yoski
Aima's collections. So, I'm assuming
that's how they're just going to stick
with episode one. Particularly enjoy the
look of Uta's hands here. So
three-dimensional and so rounded. Hiro
Mininoa does use a lot of rounded
shapes. I guess that's how you can
differentiate between their and Yugi
Hajima style, which is a lot more sharp
with the features. This is once again
some other dimensional stuff. And yeah,
it's our main cast again. Um, these
cuts, they do look a little bit awkward,
which I'm just assuming is because of
the editing because it's just one
zoomed-in cut going to another zoomed-in
cut. It reminds me a lot of um, episode
9, another storyboard by Gosso, but in
that case, I'm sure it happened only
because it's unfinished. If you saw the
full cuts and we saw the clips in order,
I'm sure it would look much better.
Sometimes the opposite is also true. I
had seen Chainsaw Man's trailer so many
times that once we got the full
Tatsuyoshi power cut, that ended up
looking awkward because I was so used to
how it was edited in the trailer. And
Utah looks [ __ ] menacing, man.
Another incredibly beautiful collection
right there. Here we go. I think that's
the same character. The drawing style is
very shiny inspired. I'm assuming this
is done by Rui. Go's Ohira style timing
is a little bit different to this. This
feels more in line with Rui's timing.
Rui is just such an incredible up and
upcoming animator. He's so awesome. The
space they're fighting in again is feels
so surreal, right? The background here
works as such an appealing negative
space. If this is the same guy as we saw
previously, I'm quite sure that this is
a Zenin character because escaping
Jiujitsu Kaisen spoilers is next to
impossible if he is a Zenin because of
the way he's basically teleporting here.
I'm assuming he has the same technique
as the old guy Zenin. His technique is
animation. Basically, he's skipping
frames quite literally. Oh yeah, these
drawings are absolutely unreal. I mean,
Ruy did this. So yeah, as for the
drawings, I'm still assuming that these
are corrected by Yosuk Yajima,
especially Choso cuz you know Yajima and
Choso is a match made in heaven.
Incredible use of negative space. And
look at the line art. Dyed outlines for
his hair. First of all, it's white
outlines over here cuz the background is
black. Even his blood is almost black. A
very slight shade of purple in there. As
for here, I do not understand this
background. Oh, yeah. I can see I can
make it out right here. What is that
supposed to be though? And then Yuji
punches a curse here. Yep, that's a
curse that's exploding into effects
animation. Again, looks like Tokomoto's
effects. Assuming that's still animated
by him. The corrections there, however,
it's just straight up Yajima. This is
just straight up season 2. Yosuki Ajima.
So, I haven't read the manga, but I'm
assuming this is Ra's blood. Ra or Rico.
Okay, so Ra is Uta's curse. Rico is the
one who got shot by Toji, which would
kind of make sense because it might mean
that this gang is going to meet up
Tangen, which is that alternate reality
that we saw. Yuki does say that this is
where everything started. It was Toji
who unknowingly set off all the events
that we see in Shibuya arc, because he
decided to kill teenagers. It's kind of
borderline creepy that we getting to see
this. This is definitely Kale reference
and that's Maki who's looking [ __ ]
insane here. There's also Mai over here.
I also remember reading in some
interviews somewhere that there's a Maki
episode coming up and Gosso really
wanted to do that. I'm assuming this is
what he was talking about. Extreme
attention to detail where it matters.
Look at the way her boobs are moving
with the inertia. God, that's
incredible, isn't it? Yeah. Here she
she's twisting her body. It's going this
way. So, her boobs are basically
squished over here. here because of the
inertia, they're still tilted towards
her left and then they catch up over
here. Beautiful animation and yeah,
incredible perspectives over here. I do
not appreciate the motion blur. Hope
that won't exist in the final version,
but again, it's uh mainly the editing
that kind of makes this look awkward. As
for guessing who animated this scene,
the way the jawline is drawn is a dead
giveaway that this is not corrected by
the base chief animation directors. I
have a couple of guesses here. It could
be Nakaya onen. The line art here feels
a little bit too clean to be by Onen. It
could also be a Taku Ninuma correction
or his key animation, which would be
very interesting. Ninuma rarely draws
action. And the shading and the volume
that's presented through these drawings
look very Ninum like. Regardless, I'm
very excited to see who really animated
this. That is 3D debris. I can make out
from the debris that's flying into the
air. It's go trickery. Again, go 3D
looks very much like 2D cuz he's, you
know, making them himself in Blender.
He's not depending on the 3D team and
doing that. Another cool cut. The red
just fading away from the background and
going back to grayscale. I wonder what
that's about. Maybe this scene is before
the Rui cut. It's a space that's
supposed to be red. Engulfed in red.
Maybe Choso's red. Another really cool,
impressive cut. Again, self-made 3D
backgrounds. Again, classic Yajima
corrections over there. Look at this
drawing. So [ __ ] cool. Finally, we
left with another drawing that doesn't
really look like it's Yajima. I'm
assuming it's Nea again. So maybe the
theory is correct. All the Uta
corrections by Nea, whereas everything
else is being done by Yajima because I'm
sure Choso is also Yajima. And even the
Rui cut over here with all the obvious
line art insanity, it still feels like
there's a base correction by Yajima over
here. So yeah, that's an excellent
trailer. I mean, what were you [ __ ]
expecting? Some of the best stuff that
the industry has ever seen. No longer
completely nerfed by the schedule. You
were always going to get something of
this caliber. I'm not sure if I'll get
to watch the movie cuz I'm going to be
really busy with personal stuff in
November, but I am really excited for
Chainsaw Man later this month. I'm
definitely going to be watching that.
Outside of that, this was just supposed
to be a quick and easy to make video,
but all of my focus currently is going
towards making videos on Takupi.
regardless of whether those videos don't
get views or if they get age restricted.
So, I hope you're looking forward to
that. It's a lot of work, but I'm trying
my best. If you like this video, leave a
like. If you did not like it, leave a
dislike. Tell me what you liked or
disliked about it in the comment
section. I read most, if not all,
comments. If you'd like to give me an
extra little bit of support, you can
join these fellow art connoisseurs as
one of my members. But yeah, that's
about it. Thanks for the views.