The Ultraman and Ultraseven episodes directed by Akio Jissoji were as below:
Ultraman (six episodes)
#14: The Pearl Defense Directive (Mamoru Sasaki)
#15: Terrifying Cosmic Rays (same as above)
#22: Sabotage Terrene (same as above)
#23: My Home is the Earth (same as above)
#34: A Gift from the Sky (same as above)
#35: The Monster Graveyard (same as above)
Ultraseven (four episodes)
#08: The Targeted Town (Tetsuo Kinjo)
#12: From Another Planet with Love (Mamoru Sasaki)
#43: Nightmare on Planet 4 (Ko Kawasaki; Shozo Uehara)
#45: The Boy Who Cried Flying Saucer (Ko Kawasaki; Shozo Uehara)
*The script writers’ names are in the parentheses: The Ultraseven episode 12 is banned now in Japan.
Mamoru Sasaki (1936-2006) was a script writer who got along very well with Jissoji, and they worked together a lot for producing the Ultraman episodes cited above. Ko Kawasaki was one of Jissoji’s pseudonyms along with Yuri Manpukuji as Jissoji wrote the scripts of the Ultra Q episodes with these pseudonyms that ended up being unproduced. Both pseudonyms were derived from regional names of the places where he lived back then.
Even though Episode 43 and 45 of Ultraseven were meant to be the episodes co-written by Jissoji and Uehara as shown above, it is said that Episode 43 was almost written by Uehara on his own and Jissoji wrote the script of Episode 45 almost by himself.
If you are an ardent fan of the original Ultra Series, you should be aware that these episodes directed by Jissoji that include the ones written by himself consist of extremely unusual ones with extraordinary stories and characters except Ultraman Episode 22 that, with Telesdon featured, gives us an impression that it is genuinely a classic style tokusatsu action show including the impressive tokusatsu scenes where Telesdon rampages in the night city in flames.
Jissoji himself admits he was not good at filming the real-life scenes to be composited with the tokusatsu scenes afterwards and that he began to avoid filming such scenes intentionally as he found it was too much work to make arrangements with the tokusatsu director and staff for those scenes in advance because such scenes required precise prearrangement to make both real-life and tokusatsu scenes fit in well with each other.