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pdf, The Edo period overflows with visual images. Ukiyo-e and theater are two representative examples. Hizakurige-genre e-sugoroku, born of a fusion of these two, is a good example of the advance in development of Edo period representative culture. As an example of how the world depicted in the work and its illusions are related, I will look at how Hizakurige was represented in e-sugoroku, as well as how the world of the tale was carried over, and in what ways it changed. We will look at four e-sugoroku of the Hizakurige-genre which were printed at a relatively early stage and led to numerous imitation works. In order to look at how the Hizakurige e-sugoroku works embellished the original Hizakurige story, it is necessary to compare the original episodes of Hizakurige with the 53, and at times 55 spaces on the e-sugoroku. In this paper, by looking at the characters and wording in the Hizakurige-genre e-sugoroku and the style of Gojuusan Eki Kokkei Hizakurige Douchuu Zu-e (Zu-e below), we will look into how readers at the time read Hizakurige as well as the place of e-sugoroku. Looking at the pictures of the group of e-sugoroku works, numerous instances of interpretation can be found even in those which are based on the illustrations in Hizakurige. In addition, the combining of illustration, annotation, and written story found in the construction of Kusazoushi is employed in e-sugoroku, even though they were made as games. From this perspective, Zu-e is a representative example of e-sugoroku. In other words, where the text of Hizakurige is comprised of narration and conversation, Ise Sanguu Hizakurige Douchuu Sugoroku and other Hizakurige-genre e-sugoroku generally use the narration. Zu-e is special in that it uses the conversations to bring out humor not just from the pictures but also from the text. Another feature of Zu-e is how it depicts in detail everyday objects, bringing out the daily lives of people at the time of Hizakurige through household items, and shows visually life along the kaidou.