What Dojutsu Does Kaguya Ōtsutsuki Use And Why?

Kaguya in 'A Certain Magical Kaguya' isn't just another overpowered character—she's a tactical genius wrapped in mystery. Her primary ability revolves around 'Moonlight Manipulation,' letting her bend lunar energy to create barriers, blades, or even heal wounds. But here's the kicker: she can store moonlight in objects, turning mundane items into timed explosives or healing potions. Her combat style blends precision and unpredictability—one moment she's defending with an impenetrable shield, the next she's refracting light to blind opponents. The real hidden gem? Her 'Tide Call' ability, which syncs with lunar phases. During a full moon, her speed and reflexes triple, making her nearly untouchable. She's also hinted to have dormant 'blood memories' of ancient lunar witches, suggesting even scarier powers might awaken later.

Every time I replay the final arcs of 'Naruto', Kaguya's flaws stand out as much as her freakishly overpowered moves. On a mechanical level, the biggest canonical weakness is that she can be sealed. Hagoromo and Hamura managed to restrain her using combined sealing power, and later Naruto and Sasuke replicated that strategy with Six Paths chakra to trap her again. Sealing is the explicit counter in the story, so any technique or ritual that isolates her chakra or locks her into a sphere works against her. Beyond that, her power centers around the Rinne Sharingan and dimension-hopping. If you interfere with her eye-based jutsu or lock down her ability to open portals, she loses a huge tactical advantage. Sasuke's Amenotejikara and coordinated team tactics in the fight show that denying her freedom to shuffle dimensions makes her far more beatable. She's also vulnerable to teamwork and clever seals rather than brute force — lots of combos, timing, and eye-based counterplay are what take her down. Personally, that mix of cosmic horror and an Achilles' heel that hinges on sealing makes her one of the most narratively satisfying bosses in 'Naruto'.

Kaguya's connection to the Ten-Tails is one of those lore bits that always makes me pause and re-read the pages of 'Naruto' at 2 a.m. I ended up sketching timelines in the margins of my manga copy to sort it out, so here's how I think about it. She started by eating the Divine Fruit from a mysterious tree that sprouted after an extraterrestrial being planted itself on Earth. That fruit gave her chakra — not just power, but the origin of chakra for humans. Over time she used that power to control nations, and when her sons turned against her she tried to reclaim absolute control. To preserve or enforce her will she merged with the God Tree (the same tree that produced the fruit), and by doing so she effectively became the Ten-Tails or the Ten-Tails' host. In other words, the Ten-Tails isn't some separate stranger — it's the God Tree and Kaguya fused, a monstrous culmination of the chakra she once ate. Later, Hagoromo and Hamura confronted her and sealed that monstrous form, splitting its chakra into the tailed beasts. So the Ten-Tails is both a transformed Kaguya and the God Tree manifest, which is why sealing it required her sons' combined power — it was their mother and a planet-scale entity all at once.

When I break down Kaguya Ōtsutsuki’s fights, the spectacle is wild but the cracks are obvious if you look closely. She’s basically a force of nature in 'Naruto': near-limitless chakra, dimension-hopping, the Rinne Sharingan, and those reality-warping techniques. Watching her open dimensions feels like watching someone rewrite the rules of the board mid-game. But the moment someone starts exploiting the rules she creates, things get interesting. Her biggest practical weaknesses are predictable: sealing and coordinated synergy. No matter how many dimensions she spawns, sealing techniques and well-timed combined chakra attacks can lock her down — the whole reason Naruto, Sasuke, and their allies could finally trap her was teamwork that neutralized her mobility and sealed her away. She also relies heavily on the Rinne Sharingan and her dimension tactics; if opponents can force her into a straight-up fight with her physical body exposed, she becomes more vulnerable. There’s also psychological stuff: she’s stubborn, single-minded, and doesn’t grasp modern shinobi teamwork or subtle manipulation, which leaves openings. I also find it fascinating that Kaguya’s downfall has an internal layer: betrayal and manipulation. Her own will gets hijacked by other forces, and that narrative weakness—being unable to control the consequences of her own actions—feeds into how she loses. So yeah, she’s terrifying on paper, but perfectly beatable if you can coordinate, seal, and exploit her blind spots. I still love how dramatic her fights are, though.

Hard to admit, but Kaguya's presence in 'Boruto' is more like a long, eerie echo than a full-on comeback. She doesn't return as an active, walking-around villain the way Momoshiki or Isshiki did; what we get are flashbacks, lore dumps, and characters who carry her legacy. The Ōtsutsuki bloodline and the idea of the Ten-Tails keep her shadow alive — Karma, the fruit of chakra and those weird interdimensional agenda plots are all spiritual descendants of what she started. The story leans on her origin status (the first to wield chakra on a massive scale) without literally resurrecting her as the main threat. I enjoy how the series keeps Kaguya mythic rather than repetitive: bringing her back physically would feel like reusing the same shock. Instead, 'Boruto' lets newer villains and the complex Karma system do the heavy lifting while Kaguya remains a terrifying, almost mythological ancestor — scary and untouchable, which honestly suits her more in my book.

The music in 'The Tale of the Princess Kaguya' feels like wind through paper — fragile, surprising, and somehow insistently honest. When I first watched it late one rainy night, the soundtrack wrapped around the watercolor frames and held my attention in a way that dialogue alone never could. Joe Hisaishi’s score isn’t there to grandstand; it acts like a second narrator, gently nudging you toward feelings the visuals imply but don’t always state outright. Sparse piano lines, breathy textures, and occasional strings create a palette that mirrors the film’s hand-drawn, ephemeral art style — it’s as if every note is a brushstroke. I kept pausing subconsciously to listen to the silence between notes, because the quiet is part of the composition too. On a more analytical level, the soundtrack works by shaping emotional architecture. There are recurring musical motifs that serve as anchors: a lullaby-like theme for childhood, a wistful contour for longing, and harsher dissonances when Kaguya is trapped by expectations. These motifs don’t shout their presence; they arrive, evolve, and then retreat — much like how the story handles time and memory. Hisaishi leans on traditional timbres and tonal simplicity so that the music never outpaces the scenes. Instead, it complements them, whether that’s the raw joy of running through bamboo or the crushing ritual of courtly life. The harmonic choices — often modal, sometimes open-ended — leave room for melancholy to breathe, which suits the tale’s central feeling of impermanence. What I love on a personal level is how the soundtrack modulates between intimacy and scale. Close-up moments (like Kaguya’s small, private smiles) get delicate, almost domestic sounds: a single piano note, a faint pluck, or a human voice used like an instrument. Wider, more social moments swell with fuller strings and choral textures, not to swell ego but to underscore the trappings that eventually suffocate her. Also, the film uses diegetic sounds and ambient silence masterfully alongside Hisaishi’s score — creaking floorboards, rain, the rustle of kimono fabric — making the music feel like part of the world rather than something layered on top. That interplay is what made me lean forward in my seat more than once. If you want to experience the story on another level, try watching a scene with headphones and then listen to the soundtrack alone while flipping through art or the original folktale text. It’s a small ritual I do when I’m feeling reflective: the score turns the narrative from a myth into an intimate memory. The end result is a film where sound and image are braided so tightly that the sorrow and beauty of Kaguya’s fate linger long after the credits fade — and I often find myself humming a fragment of a theme days later, the sort of tune that quietly grows roots in your chest.

Kaguya Ōtsutsuki is the type of villain that makes you re-evaluate the word ‘godlike’—she’s basically the origin point for chakra in the world of 'Naruto' and her toolkit reflects that. At the baseline she has absurd, practically limitless chakra reserves because she literally ate the God Tree’s fruit and became the Ten-Tails’ jinchūriki; that grants her near-endless stamina, extreme regenerative healing, and the power to absorb other people’s chakra on contact. Her dojutsu suite is brutal: the Rinne-Sharingan (the eye on her forehead) lets her cast the Infinite Tsukuyomi and manipulate space-time to rip people into multiple pocket dimensions. Her relocated pupils (her regular eyes) work like Byakugan-level perception, giving her near-360° sight and the ability to see chakra flow, which makes sneaky techniques hard to land. On the offensive side she can spawn absurd techniques—bone spikes and tree-like constructs that impale and encase, black chakra rods that act like receivers to control or seal chakra, and gravity/attraction-like effects reminiscent of Truth-Seeking that can compress or imprison enemies. She can shift between dimensions at will, creating separate battlefields (the Moon-like dimension, the Rabbit Planet, etc.) and she can teleport across them instantly while also dragging opponents along. She also shows the Ten-Tails’ ability to form massive constructs (like a moon/cluster) and to terraform reality in ways most ninja simply cannot respond to. But she isn’t omnipotent. The big mechanical limits are: she can be sealed (Hagoromo and Hamura did it; Naruto and Sasuke finished the job later), her dimension tricks can be countered or baited, and she’s vulnerable to coordinated Six Paths-level techniques. Physically she’s tough, but specific tools—Sealing Techniques, the Six Paths Chibaku Tensei, chakra receivers, and the combined power of chakra lineage heirs—work because they target her source: the Rinne-Sharingan/Ten‑Tails connection and her ability to maintain a corporeal form across dimensions. She also demonstrates a mental/psychological weakness: extreme isolation and overconfidence made her predictable. For me, Kaguya is wild because she’s both a beautiful mythic threat and a reminder that ‘godlike’ powers in 'Naruto' always come with anchors—truths that creative teamwork and sealing jutsu can exploit. I still get a thrill thinking about how the heroes pulled that off against such a cosmic-level opponent.

I like to picture the moment in big, cinematic terms: she ate the fruit and the rules changed. Kaguya Otsutsuki came to Earth to harvest chakra, and when she consumed the chakra fruit from the God Tree she suddenly became more than human. That intake gave her chakra unlike anyone before, and when the God Tree and Kaguya fused she effectively became the Ten-Tails' host. The Rinne Sharingan awakened on her forehead as a result of that union — a dojutsu born from the God Tree's power and her Otsutsuki lineage, which let her cast the Infinite Tsukuyomi across the moon. From my point of view, the Rinne Sharingan is both origin and symbol: it’s the progenitor eye that later fragments into the Sharingan and Rinnegan we see in 'Naruto'. There’s some debate among fans about whether the eye was inherent to her clan or strictly a byproduct of merging with the God Tree, but canon scenes make it clear the fruit-plus-tree fusion is the trigger. I love how this ties into the series’ themes — power, isolation, and the cost of godlike abilities — and Kaguya’s eye is the perfect tragic crown for that story.