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Who-ya Extended · Jujutsu Kaisen · Jujutsu Kaisen OP 2
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
ibitsu na shuuen ni mukatte afureru inochi no hyoumen chouryoku ga haritsumeta harisaketa
Rushing toward a twisted end — the surface tension of life pulled taut, then burst apart.
'Twisted end toward overflow — life's surface-tension stretched taut, burst apart.' The imagery is a water droplet at its breaking point: overflowing (溢れる), stretched (張り詰めた), then rupturing (張り裂けた).
表面張力 (surface tension) is a scientific term used metaphorically for a life held together under extreme pressure — a distinctly Japanese lyrical device that fuses clinical precision with emotional imagery.
futtou shita fugutaiten no sakebi heridotte gekkou shita fukashi no honshou ga kenzaika shiteku chigire-sou na tsuna no ue tada yurasanu you ni hisomeru ka ichi ka bachi ka kakenukeru ka sentakushi nante wana ni mieru
A boiling, bitter cry outlines my rage — the invisible true self is coming into view. On a rope about to snap, do I lie still so it won't sway? Or gamble it all and sprint across? Every choice looks like a trap.
'Boiled sworn-enemy cry bordering, enraged invisible true-nature becoming-manifest. On a rope about-to-snap, merely not-to-sway hide? All-or-nothing dash-through? Choices like-such look-as-traps.'
不倶戴天 (fugutaiten) is a four-character idiom literally meaning 'cannot share the same sky' — reserved for an enemy so hated you cannot coexist with them under the heavens. 一か八か is the Japanese equivalent of 'all or nothing' and originates from old gambling terminology.
fumidase sono ho wo
Take that step.
'Step-out that step.' The imperative form 踏み出せ commands the listener to commit to the first move.
mou modoranai konrinzai koukai wa shinai genjitsu wo kaete miseru shinjitsu ga tatoe zankoku demo somatte iku disaster hidaika shita tsumi wo shukuen wo tenazukete kakenukeru tada koe wo ou you ni gitai shitai mujou na toon kitai shitai fujou na gongu
I'm not turning back. Never again. No regrets — I'll show you I can change reality. Even if the truth is cruel, I'll let it stain me: Disaster. Taming the bloated sin, the old grudge, I run — as if chasing only the voice. I want to mimic a merciless tone. I want to anticipate a ruthless gong.
'No-more turn-back absolutely-never regret do-not. Reality I-will-show-you-I-change. Truth even-if cruel, becoming-stained Disaster. Bloated sin old-grudge taming, dash-through just voice as-if chasing. Want-to-mimic heartless tone. Want-to-expect ruthless gong.'
金輪際 (konrinzai) is a Buddhist-origin emphatic 'never' — originally a term for the earth's deepest ring in Buddhist cosmology. The paired 擬態したい / 期待したい lines use almost-rhyming verbs to set up the following 無情 / 不情 adjective pair: 不情 is a coined lyrical variant of 無情 that doesn't exist as standard Japanese.
utsuro na kanjou ni sukutteru kegare wo isameru miren no taga wa kudakareta
The hoop of lingering attachment — the one that kept the defilement festering in my hollow feelings in check — has been shattered.
'In-hollow-feelings nesting defilement, admonishing-lingering-attachment's hoop was-shattered.' The metaphor is a wooden barrel bound by hoops (箍) — when the binding breaks, everything spills out.
箍が外れる ('the hoop comes off') is a Japanese idiom for losing self-control, derived from traditional wooden barrels (樽) that are held together by metal hoops. Here the passive 砕かれた makes the loss of control involuntary — imposed, not chosen.
kikkou shite yuku zehi zen'aku no boodaarain to kattou shite ita nurui honshin ni ichigeki wo utsu guratsuku gareki no shiro tada toritsukurou tame kazaru ka tsumi ka batsu ka michibikeru ka sono ba shinogi ja soko ga mieru
Good and evil stay evenly matched along the borderline — and I strike one blow at the tepid true feelings that were conflicting. A tottering castle of rubble — do I just dress it up to keep up appearances? Sin or punishment — can I even choose? A stopgap fix and you'll see the bottom straight away.
'Evenly-matched right-wrong-good-evil borderline with conflicted lukewarm true-heart, one-strike strike. Wobbling rubble castle — merely patch-up for decorate? Sin or punishment, can-guide? Stopgap-with bottom shows.'
mihirake sono me wo
Open those eyes wide.
'Open-wide that eye.' Parallel to verse 3's 踏み出せ その歩を — both use the same imperative-plus-object structure to command action.
mou tomarenai hyouri ittai donten na mirai choujou made haiagaru aizou no mure ga uzumaite mo kizande iku burasutaa
I can't stop now — two sides of the same coin, an overcast future. I claw my way up to the summit. Even if a swarm of love and hate swirls around me, I keep carving forward: Blaster.
'No-more cannot-stop, two-sides-one-body overcast future. To-the-summit crawl-up. Love-hate swarm even-if swirling, carving-go Blaster.'
表裏一体 (hyouri ittai) is a four-character idiom — 'front-back-one-body' — describing two things that cannot exist without each other. Love-and-hate (愛憎) are framed as one of those pairs.
mukei na haitoku wo shukumei wo shitagaete nageku rensa wo tachikiru made
Ruling an absurd immorality, commanding my destiny — until the chain of lament is severed.
'Absurd immorality, destiny leading — lamenting-chain until sever.'
jikai shitai kijou na souru rikai shitai kijou no shou kikai shitai muen na furoo mikai shitai fuen na doroo
I want a stouthearted soul. I want to understand a paper-thin show. I want to shatter an unrelated flow. I want to savor a bondless draw.
'Want-to-self-caution stouthearted soul. Want-to-understand theoretical show. Want-to-destroy unrelated flow. Want-to-savor bondless draw.'
The four 〜したい lines are deliberately parallel: each is verb-want-to + abstract-adjective + katakana-noun. 味解 and 不縁 are coined by the lyricist (nonstandard Japanese) to rhyme with the surrounding 理解 / 無縁 pairs — playing with the listener's expectation of familiar kanji compounds.