Jujutsu Kaisen【ch.7】Full-page explanation

Hi everyone, こんにちは!
This is Kyle Scouter.

Welcome to a thrilling journey into the dark and mystic world of Jujutsu Kaisen!

I will break down each panel, offering insightful commentary and analysis to enhance your understanding of the story, characters, and the fascinating world created by Gege Akutami Sensei.

I’ve created visual aids to help illustrate each point on every page, making it easier to follow the details.


This time I will talk about Jujutsu Kaisen Ch.7 “呪胎戴天 –(Fearsome Womb -2-)” and explain in detail in the text what the images alone cannot explain enough.

Before starting the main pages, let me explain about Japanese numbers.

In the Japanese language, there are multiple ways to represent numbers, each with its own form and usage.

The primary forms include:

1.Arabic Numerals: Used widely and similar to the numerals in Western languages (0, 1, 2, 3, etc.). They’re common in modern Japanese, especially in technical or formal contexts.

2.Kanji Numerals: Derived from Chinese characters, these symbols represent numbers (一, 二, 三, 四, etc.). They’re often used in formal writing, traditional contexts, or for aesthetic purposes.

3.Alternate Forms: In more formal or traditional contexts, alternative forms like 参 (さん, san) for three or 弐 (に, ni) for two might be used, especially in legal or financial documents.

Gege Sensei uses Alternate Forms (弐 for Two) to the title of this chapter. This way looks traditional and cool for Japanese people, that’s why he used it in this title.

So now let’s dive into the Jujutsu Kaisen world!

Page 1

① Extra

The extra of this chapter says “In life, there are situations where it seems dancing is the only logical option. When working on a weekly series, this happens every week.”

So he means that the schedule for weekly serials is very tough, and often there is nothing he can do to meet the deadlines.

In fact, Gege Sensei was unable to meet the deadline, and several pages of Ch. 150 were published in draft form. He then took a few months off.

Doing a weekly series is such a challenge. Recently Shueisha has been trying to let authors take a break, but it’s still hard work.

Here’s a chart that summarizes the WSJ author’s weekly schedule from long ago.


・Eiichiro Oda (ONE PIECE)
He goes to bed at 2:00 a.m. and gets up at 5:00 a.m., working all the time except for meals and other activities.

Weekly Schedule:
Monday – Wednesday: rough layout
Thursday – Saturday: Drafts and pens
Sunday: Color work, etc.

He works on comic books when he finishes his weekly manuscript.

・Akira Toriyama (Dragon Ball)
When he was drawing Dr. Slump, he allotted three days for rough layout and drafting and four days for pens. He said, “My waking and sleeping hours were all messed up, and I would go to bed when I reached my limit, but otherwise I would paint”.

Weekly Schedule:
Monday – Wednesday: rough layout & draft
Thursday – Sunday: Pens

・Masashi Kishimoto (NARUTO)
Kishimoto Sensei’s schedule at the beginning of the Naruto serialization had him working 19 hours a day during the penning process.

Weekly Schedule:
Monday – Thursday: Draft & Pens
Friday – Saturday: Conception and rough draft

・Taito Kumo (BLEACH)
Kubo Sensei says, “I’m the type of person who needs a run-up, so I play a lot during the day and draw Rough Draft in short bursts at night. Still, I’ve never been late with a manuscript.”

Weekly Schedule:
Monday, Saturday – Sunday: Rough Draft
Tuesday – Thursday: Pens
Friday: Off

This is the schedule of WSJ authors. As you can see, most of the authors have such a tough schedule every day, every week…

② Megumi’s hand sign

The hand sign Megumi uses to summon Shikigami comes from Shadow Pictures.

It is a form of entertainment where performers use their hands to create shadows resembling various shapes, animals, or characters on a lit surface or a screen. By positioning their hands in front of a light source, such as a lamp or flashlight, and manipulating their fingers and hands into different configurations, they cast shadows that resemble recognizable figures.

And Megumi’s Technique is Ten Shadow Technique, which uses shadows as an intermediary, this technique allows the user to summon ten different shikigami. That’s why Megumi uses the hand sign which is related to shadow.

Page 2&3

① Powerful spread

Ch.7 contains a spread page in the second page. This is the next panel where Megumi is worried about Yuji and Nobara. By doing this, the reader would think that this chapter is going to be more exciting than usual.



Page 4&5

① Black Frame

Yuji’s recollection from this page, but the frame of the panels is painted black. In manga, black frames are used for recollections. In this way, the reader can sensibly understand that we are now talking about the past.

This Technique is very common in Manga. It is not certain who started this, but one theory is that the method was started by Osamu Tezuka in the Japanese manga industry. Osamu Tezuka, often referred to as the “God of Manga” and the “Father of Anime,” was a renowned Japanese manga artist and animator. He revolutionized the manga industry and pioneered the art of anime, creating iconic characters such as Astro Boy (known as Tetsuwan Atom in Japan), Kimba the White Lion (Jungle Emperor Leo), and Black Jack. He also made this technique and Japanese manga artists are still using it.

② How Sukuna calls Megumi and Nobara

In the Japanese version, Sukuna calls Megumi “the kid there” and Nobara “onna (woman)”.

However, the notations are written as “伏黒(Fushiguro)” and “釘崎(Kugisaki)” and these reading are attached.
This is called Ruby Technique.

In Japanese manga, there’s a unique phenomenon where the pronunciation guide, known as furigana (ruby characters placed above or alongside kanji), sometimes differs from the actual reading of the kanji characters. This technique is often used to provide a simplified or colloquial pronunciation for complex or uncommon kanji, aiding readers who might struggle with certain character readings.

And Sukuna basically does not call people by name. Probably because he doesn’t remember people’s names. But to make it clear to the reader who he is referring to, the notation is in their names.

③ Finger Bearer Strength

This scene shows how strong it is. With just a breath, the floor near Yuji and Megumi explodes.

Often the breath shows the strength of the character. Breath, an act that we take for granted on a daily basis, having more power than we can imagine, is a good way to show strength.

Page 6&7

① Gradation

The frame is gradually changing from black to white. This expresses the transition of the scene from recollection to reality, and in this way, the scene can be smoothly switched. This is just like in movies and dramas.

It is amazing that a manga artist can create such a performance with only a frame.

② The shadow is a wolf

This is really a cool direction. Mewgumi’s Ten Shadow Technique summons Shikigami from the shadows. So Megumi’s shadow shapes like a Divine Dog here.

Page 8&9

① Incomprehensible attack

He attacked Yuji with a kind of barrier of Cursed Energy, but he had no idea what had happened. This panel shows this incomprehensible attack so effectively.

During the lines where Yuji is thinking about how to move in his mind, a barrier is drawn from the lower left corner and covered by the lines.

This is a great drawing.

② Gege Sensei’s Technique

For Gege Sensei, Jujutsu Kaisen was his first weekly serial, and at this stage his drawing skills were still in development. However, Gege Sensei does a good job of using panel layout to create interesting battle scenes.

In this scene, Yuji’s face is painted in a close-up and no lines are drawn. By doing this, it expresses that Yuji does not understand what has happened.

Thank you for reading.
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Jujutsu Kaisen【ch.7】Full-page explanation

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