Goodbye, Eri

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If you have read the short stories that Fujimoto was doing before Chainsaw Man (and even Fire Punch), Goodbye, Eri feels more of a kind with some of those narratives where youthful outsiders are going through a coming-of-age journey with a hint of fantasy. Since then, Yuta spends time balancing his normal life with his obsession to recut Eri's movie. Years later, an adult Yuta suffers the loss of his wife, child, and father in a car accident. Losing the will to live, Yuta had decided once more to attempt suicide at the screening room where he and Eri would marathon movies. Arriving there, Yuta discovers a still alive and youthful Eri. Eri reveals that she really is a vampire who repeatedly experiences memory loss caused by cycles of brain death throughout her eternal life. The Eri from her previous life had left specific instructions for her future incarnations as well as the movie she and Yuta made to ensure that she will remember him forever and know what kind of person she should strive to be. His will to live restored, Yuta bids farewell to Eri and nonchalantly leaves as the building the screening room was housed in explodes much like in the ending to his movie about his mother, leaving the reality of previous scenes ambiguous. Digital goods, open DVDs and Blu-rays, smart art prints, mystery bundles, and final sale items are excluded from the return policy. It is immensely rewarding to see an author circle the same topics over and over again, and every time he does he manages to change things up just enough to keep things exciting and fresh. It's even more rewarding to follow an author since debut and see him get bolder and more confident in the things he likes: his endless love for film; his love for an incomprehensible, difficult woman; the male protagonist on the brink of despair; the love for family, as complex as that may end up being; our nature to self-edit our every move, our core of being; and the detachment of a writer from the rest of the world, the way story and reality blur so often the line may as well be completely absent.

The ending of Dead Explosion Mother initially reads like Yuta running away from confronting his mother's death, but Eri later points out that filming his own mother's death is a horrible burden to put on Yuta. On reread, the ending appears more like Yuta rejecting his mother's task in her final moments rather than him running away from his responsibilities. Beware. You should never really be attached to any of his characters because you'll be badly hurt in the end. Soon, when I read a manga without glancing at the author's name, I'd definitely know it's from sensei. Only Fujimoto can lift us just to pull us down forcefully and swiftly like nothing happened. an impression for quite some time. To be honest, I didn't think I'd enjoy it the way I did. It seemed like a cliche with the death of the mother and an inspiring friend/love interest, but boy was I wrong! Bait-and-Switch: During dinner with Eri at Yuta's house, his dad sullenly eats dinner in silence before bursting out in an angry diatribe forbidding her from hanging out with his son. There's a lengthy pause, then Yuta calls out " Cut!" and his dad breaks character, nervously asking how his acting was as a mean, Fantasy-Forbidding Father fictionalized version of himself. The nonlinear storytelling is genius in the way that it confuses the viewers right alongside our protagonist, Yuta. The many layers of meta stories-within-stories pile on as the story progresses, leaving readers to question what is real and what is fiction. With the mangaka having demonstrated his plot-twist prowess, his newest one-shot is no exception, in the most surprising and chilling way possible.Very very interesting. A complete 1/10 and a 10/10 at the same time so I'll balance it out and leave it with a 9/10.

Fiction doesn't have to be real to be impactful. Reality is stranger, crueller than fiction. Fujimoto’s blurring the lines of the two tells us to treat both like the other, to jovially accept the bullshittery in real life as if we are living in a play. But also experiencing the dramatic tragedy in fiction as if they were real. Therefore we learn, experience and live life in both worlds, but face the horrors of life with absurdist acceptance.Arc Words: The fictionalized element that adds to Yuta's movies is repeatedly described as "a pinch of fantasy", representing his ability to use his movies for catharsis by adding a personal, intentionally fantastical touch. It's even the very last words that are spoken in the story, on the penultimate panel, right before we see an adult Yuta calmly striding away from the abandoned building as it explodes for no reason, calling into question whether any part of what we just saw was real. Before reading this manga, I for some reason believed that I could not love a one-shot manga enough for it to become one of my favourites. I had convinced myself that there was simply not enough of a short manga to be able to properly develop a fully engaging storyline, likely because of the fact that I have not read many one-shots. This manga most definitely proved me wrong and changed my perspective. Eri's Friend: Your Eri was a little overidealized. But... I'll always remember her like that. Thanks. The film Yuta compiled together that seemed to be a documentary, turned out to be a semi autobiography that Yuta edited and showed in front of the whole school. Tantimedha, Adi (April 11, 2022). "Goodbye, Eri: One of the Best, Most Unexpected Graphic Novels of 2022". Bleeding Cool. Archived from the original on April 13, 2022 . Retrieved April 12, 2022.