But beneath its modest budget and low-stakes premise, Episode 122 succeeds for a simple, almost subversive reason: it stops trying to be Naruto and finally remembers how to be Boruto . Let’s address the elephant in the room. Puppet jutsu is sacred ground. In Naruto Shippuden , Sasori of the Red Sand elevated puppetry from a gimmick (Kankuro’s Karasu) into a haunting philosophy of immortality. Episode 122 invites that comparison immediately. Kankitsu, the villain of the week, is a failed Tanigakure shinobi who uses Kugutsu no Jutsu with a tragic backstory (dead master, destroyed village, desire for revenge).
– A lean, thoughtful filler episode that respects its lineage without being crushed by it. boruto 122
Boruto’s response is not the typical shonen “I will beat you and we will be friends.” Nor is it Naruto’s “Talk no Jutsu.” Instead, Boruto acknowledges Kankitsu’s pain (“I understand wanting to protect someone important”) but firmly rejects his method. The pivotal line comes when Boruto says: “Using your master’s legacy to destroy what he protected—that’s not honoring him. That’s just your own selfishness.” But beneath its modest budget and low-stakes premise,
The best moment is the climactic counter: Boruto uses a wire string to redirect a puppet’s arm into disabling its own core. It’s a callback to Sasori vs. Sakura/Chiyo, but simplified, slowed down, and made readable for a younger audience. In an era of Demon Slayer levels of flash, Boruto 122’s quiet, mechanical fight is almost nostalgic—not for Naruto , but for the pre- Shippuden era when tactics mattered more than explosions. The episode is not flawless. The premise—a stolen scroll containing a “forbidden puppet technique”—is a MacGuffin so generic it hurts. Tanigakure’s worldbuilding consists of exactly one cliff and one house. And Konohamaru, the team’s jonin leader, does absolutely nothing except look worried, continuing the series’ unfortunate trend of sidelining interesting adult characters. In Naruto Shippuden , Sasori of the Red
In a franchise increasingly obsessed with scale, “The Puppet Battle” is a humble reminder that the best ninja stories are often the smallest ones. It’s not about saving the world. It’s about knowing when to cut the strings.
On paper, he is a Sasori-lite. In execution, however, the episode cleverly avoids the trap of imitation. Kankitsu’s puppets aren’t humanoid masterpieces; they are rugged, utilitarian, and animalistic (a scorpion tail, a spider-like trap). The choreography is rough, scrappy, and refreshingly low-tier. Unlike Sasori’s hundred puppets or the later Otsutsuki dimensional warping, this fight feels like a ninja fight again. Boruto can’t spam Rasengan or vanishing tricks; he has to think, dodge, and use wire strings of his own. The episode’s true strength lies in its protagonist. Modern Boruto (the manga/anime) often struggles to balance the character’s privilege with his growth. Here, Boruto faces a foe who is essentially a mirror: a talented young shinobi who lost his mentor and blames the entire system.
Furthermore, the emotional weight of Kankitsu’s backstory is rushed. We learn of his master’s death in a single flashback of two shots. Compare that to the layered grief of Zabuza and Haku, and the episode feels thin. Boruto Episode 122 is not a masterpiece. It won’t convert detractors who despise the sequel. But for those still watching, it offers a quiet reassurance: the series understands that its protagonist’s strength should not be raw power, but perspective. Boruto wins not because he is the son of the Hokage or a vessel for a god, but because he sees through the self-deception of revenge.