Popularity In January 2021, it was revealed that
Jujutsu Kaisen was the second most-watched anime series on
Crunchyroll in 2020, only second to
Black Clover, being watched in 71 countries and territories, including North America, South and Central America, Europe, Middle East and North Africa, Africa, Asia and Oceania. The official music video of the series' first opening theme song, "
Kaikai Kitan" by
Eve, reached 100 million views on
YouTube in April 2021, being one of the fastest anime openings to hit such number of views. On
Tumblr's 2021 Year in Review, which highlights the largest communities, fandoms, and trends on the platform throughout the year,
Jujutsu Kaisen ranked second behind
My Hero Academia on the Top Anime & Manga Shows while
Satoru Gojo was fifth on the Top Anime & Manga Characters category. During the same year, the series became the second most discussed TV show worldwide on
Twitter, surpassing
Squid Game. It placed nineteenth on the annual
Twitter Japan's Trend Awards in 2021, based on the social network's top
trending topics of the year. In 2024,
Jujutsu Kaisen was named by the
Guinness World Records and data-science firm Parrot Analytics as the "Most in-demand animated TV show", with a global demand rating 71.2 times than that of the average TV show, previously held by
Attack on Titan. The demand of the series peaked on December 29 at 128 times the demand of the average show. It also had a higher percentage of Gen Z (ages 13–22) viewers with 71.3%, compared to 56.7% from
One Piece and 64.4% from
Attack on Titan. In April 2024, where according to the data compiled by the analyst Miles Atherton,
Jujutsu Kaisen had the most social media engagement for the last 30 days in the top anime and network dramas in United States with 11.2 million, ahead of the other top shows including
One Piece,
Young Sheldon, and ''
Grey's Anatomy''.
Critical reception Micah Peters of
The Ringer stated that while the series' focused execution of tropes rendered it infinitely watchable, its specificity, personality, and ultra-slick stylishness were what made it exceptional. He noted that, similar to director Sunghoo Park's previous work on
The God of High School, the anime featured a sumptuous amount of splashy, expensive animation enabled by motion capture, which delivered on the action promised by the source material. Paul Thomas Chapman of
Otaku USA described the series as a prime example of average material elevated by excellent execution, drawing comparisons to
Bleach and
YuYu Hakusho. Chapman praised director Park's ability to seamlessly segue from goofy comedy to chilling horror and noted that the crew at MAPPA made this narrative mutability seem effortless. Ana Diaz of
Polygon highlighted the seventeenth episode, praising the series' treatment of its female characters as a departure from other series. Diaz wrote that the show presented a variety of female perspectives, allowing its young women to disagree and fight for their viewpoints. She concluded that its widespread success signaled that audiences were actively craving such change, giving other creators a green light to write diverse women into their shows. Reviewing the
second season's Shibuya Incident Arc, Rafael Motamayor of
IGN praised its animation but criticized its narrative as meandering. He described the relentless fight sequences as a slog, characterizing the arc as a series of nonsensical battles lacking emotional depth in the storytelling. In a separate review, Beckett criticized the series for its handling of Nobara Kugisaki's apparent death, noting that the lack of known details about her character made the accompanying flashback ineffective. This was contrasted with the better-executed death of Kento Nanami. Beckett compared Nobara's fate to the "
women in refrigerators" trope, arguing it served primarily to shock protagonist Yuji Itadori. The shock surrounding Nobara's fate was echoed by ''
, which highlighted the dissonance created by her continued appearance in the ending sequence alongside the surviving characters. In a general assessment of the season, Bolts of Anime News Network'' praised the backstory of Satoru Gojo and Suguru Geto but found the Shibuya arc mishandled its protagonist, Yuji Itadori, by portraying him more as a victim than an active participant.
Accolades The
Jujutsu Kaisen anime was awarded "
Anime of the Year" at the
5th Crunchyroll Anime Awards, while Ryomen Sukuna won the "
Best Antagonist" category and "
Lost in Paradise feat. Aklo" by
ALI won the "
Best Ending Sequence" category. In 2021, the series won the Character License Award at the
Japan Character Awards by Japan's Character Brand Licensing Association (CBLA). It also won the Best TV Anime award at the 2021
Newtype Anime Awards, while Hiroshi Seko won Best Screenplay for his work on the series. The series ranked second in the anime category of the
Yahoo! Japan Search Awards, based on the number of searches for a particular term compared to the year before. In 2022,
Jujutsu Kaisen won the
Tokyo Anime Award for Animation of the Year in the television category. In 2023, the series became one of three recipients of the Special Achievement Award at the 65th
Japan Record Awards. In 2024, it won the "Most In-Demand TV Series in the World 2023" and "Most In-Demand Anime Series of 2023" at the sixth Global Demand Awards. At the
8th Crunchyroll Anime Awards, the second season of the anime won eleven out of seventeen nominations including "Anime of the Year", which became the first to win multiple top prize.
Awards and nominations == Notes ==