Everything to know about Eso in Jujutsu Kaisen

Jujutsu Kaisen depicts Eso as a gruesome half-human experiment gone wrong. This Death Painting womb stands as living evidence of what occurs when forbidden blood manipulation is combined with 150 years of isolation. His back features a monstrous face that haunts both him and anyone unfortunate enough to witness it.

That illustrates corruption, family loyalty, and deadly blood-based abilities in Jujutsu Kaisen. As the middle brother among the Death Paintings, he prioritizes his bond with his siblings above everything else. His corrosive powers can decompose human flesh within minutes, while his insecurities about his distorted appearance push him into murderous madness. Together, these traits create a character whose tragic origins make him both pitiable and lethal.

Eso is part of a group of half-human, half-curse beings known as the Death Paintings in Jujutsu Kaisen, created through dark experiments. His existence dates back over 150 years to a period when forbidden jujutsu practices led to his creation. He is the middle sibling of the three brothers, with Choso as the oldest and Kechizu as the youngest.

These three brothers share blood manipulation abilities inherited from their connection to Noritoshi Kamo. Their bond goes deeper than usual family ties, as they have been isolated together for over a century.

The most striking feature of his appearance in Jujutsu Kaisen is the grotesque face on his back. This extra facial feature causes him significant emotional pain and deep insecurity. His back-face has hollow eyes, no nose, and a lipless mouth with razor-sharp teeth.

Eso in Jujutsu Kaisen appears as a tall, muscular man with striking violet eyes, dark sclera, black hair, and pierced eyebrows that showcase his punk-like vibe. His outfit features a striped collar with a bow tie and suspenders attached to specific legwear. He explains that this outfit keeps his back-face from becoming uncomfortable.

Powers and Abilities of Eso in Jujutsu Kaisen

Eso's innate cursed technique grants him devastating corrosive abilities. His blood becomes a deadly weapon capable of poisoning and breaking down targets on contact. His technique allows him to reshape and control his blood for various combat uses.

The most dangerous part of this ability is the Decay sub-technique. When his blood enters opponents through wounds or mucous membranes, it starts breaking down their bodies from the entry point. This process creates unique floral patterns on victims and typically kills within 10-15 minutes.

Eso's ultimate technique turns the blood flowing from his back into wasp-shaped wings. These wings enhance his mobility and allow him to perform long-range attacks using projected blood lines. Like other powerful beings in Jujutsu Kaisen, Eso can reinforce his physical body with cursed energy. However, this defensive ability proved inadequate against particularly strong attacks, such as Yuji's Black Flash technique.

Eso’s Role in the Death Painting Arc

Eso was the main antagonist in the Death Painting Arc, where he and his younger brother Kechizu fight with Tokyo Jujutsu High students Yuji Itadori and Nobara Kugisaki. They were assigned to recover one of Sukuna’s fingers during this arc. However, the brothers get drawn into a fierce battle that not only displays their abilities but also raises the emotional stakes.

During their fight, Eso shows he is willing to use binding vows to boost the power of his technique. He also reveals details about his cursed technique to his enemies, including how he can shorten the time it takes for his Decay ability to become deadly.

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His battle with Yuji and Nobara was a pivotal moment in their character growth. This battle displays their progress as sorcerers and also reveals the moral complexities of their world.

The ending presents Eso as proof that even villains in Jujutsu Kaisen have depth and motivations beyond mere evil. The loss of his siblings has transformed Choso into one of the series’ most compelling characters. His tragic background adds emotional layers to the conflicts that might otherwise seem one-dimensional.

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