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Goodbye, Eri
With his mother dying, Yuta attempts to capture her last days on his phone. After her death, Yuta heads to the roof of the hospital to commit suicide, but a meeting with a strange girl leads him on the path to making a movie.
202 pages
First published April 11, 2022
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Displaying 1 - 30 of 1,376 reviews
April 10, 2022
Art is a way of remembrance.
April 22, 2022
HOW DOES HE DO IT EVERYTIME.
The way it twists and turns, wraps itself around, eats its own head and then continues wriggling beyond belief and description.
Fujimoto is stretching not even manga, visual art, to its ends here. How is he so good? Fujimoto is the type of author to make me quit trying to even think something creative, he's above anything else. How one man can consistently break any narrative notions you had in your head, will forever be beyond me. He's such a fearless auteur and I am really excited to see how he's gonna change future generations of not just manga, but storytelling in general.
Yes, it released today and I am already calling it a masterpiece. Deal with it.
The way it twists and turns, wraps itself around, eats its own head and then continues wriggling beyond belief and description.
Fujimoto is stretching not even manga, visual art, to its ends here. How is he so good? Fujimoto is the type of author to make me quit trying to even think something creative, he's above anything else. How one man can consistently break any narrative notions you had in your head, will forever be beyond me. He's such a fearless auteur and I am really excited to see how he's gonna change future generations of not just manga, but storytelling in general.
Yes, it released today and I am already calling it a masterpiece. Deal with it.
January 30, 2023
Leer esto se sintió como una bofetada. Pero en el buen sentido porque me encantó.
Es indudable que Tatsuki Fujimoto ama el cine y lo sé porque ya he visto muchísimas referencias a películas en sus otros mangas populares, solo que aquí es más obvio ese desborde de emociones por lo audiovisual. Sin embargo, la forma de hacer cine aquí, en este one shot va conectada muchísimo con la realidad del protagonista y los dos personajes femeninas de la obra.
Y con una sensibilidad y brillantez que me encanta porque refleja el deseo de no perecer, de mantenerse como un recuerdo, de ser capturados por una cámara que te inmortalizará. Ese profundo anhelo de no convertirte solo en polvo y que tu existencia quede relegada al olvido; que lo que fuiste pueda dejar una huella en los demás.
Muestra qué tanto puede engañar la ficción y la mezcla de una autobiografía en la producción creativa, muestra lo doloroso de la muerte y cómo afecta a los que siguen con vida. No sé, la dura y terrible contraposición entre los últimos días de vida tomado por una cámara hacia dos mujeres tan distintas: la madre del prota y luego Eri. Me tenía con un nudo en la garganta, me sentía melancólico y sobre todo consciente de que Eri es el comienzo de la verdadera catarsis del protagonista y también el punto final al último conflicto con su madre.
Es que me parece que lo conecta todo de manera soberbia. Y que justo el final se deja abierto a tantas posibilidades (teorías) me fascina, sin embargo, lo que a mí lo que me queda claro es que luego de conocer la historia y la vida de la madre y más tarde la de Eri, lo más justo era que el protagonista ya nos diera su propia versión sobre lo que sentía.
Y ya para finalizar pero no menos importante, el dibujo y la manera en que utiliza los paneles para ir haciendo transiciones te hace sentir que presencias un documental, que asistes no a la creación de un manga sino de un producto audiovisual. Sí, a cine, y encima le agrega imágenes en movimiento tomadas por manos temblorosas. Ya con esto creo que estoy preparado francamente para leerlo con algunas de sus historias largas porque me ha gustado lo que he encontrado en Look Back y en Adiós, Eri. Y que ganas, ojalá no me decepcione.
Es indudable que Tatsuki Fujimoto ama el cine y lo sé porque ya he visto muchísimas referencias a películas en sus otros mangas populares, solo que aquí es más obvio ese desborde de emociones por lo audiovisual. Sin embargo, la forma de hacer cine aquí, en este one shot va conectada muchísimo con la realidad del protagonista y los dos personajes femeninas de la obra.
Y con una sensibilidad y brillantez que me encanta porque refleja el deseo de no perecer, de mantenerse como un recuerdo, de ser capturados por una cámara que te inmortalizará. Ese profundo anhelo de no convertirte solo en polvo y que tu existencia quede relegada al olvido; que lo que fuiste pueda dejar una huella en los demás.
Muestra qué tanto puede engañar la ficción y la mezcla de una autobiografía en la producción creativa, muestra lo doloroso de la muerte y cómo afecta a los que siguen con vida. No sé, la dura y terrible contraposición entre los últimos días de vida tomado por una cámara hacia dos mujeres tan distintas: la madre del prota y luego Eri. Me tenía con un nudo en la garganta, me sentía melancólico y sobre todo consciente de que Eri es el comienzo de la verdadera catarsis del protagonista y también el punto final al último conflicto con su madre.
Es que me parece que lo conecta todo de manera soberbia. Y que justo el final se deja abierto a tantas posibilidades (teorías) me fascina, sin embargo, lo que a mí lo que me queda claro es que luego de conocer la historia y la vida de la madre y más tarde la de Eri, lo más justo era que el protagonista ya nos diera su propia versión sobre lo que sentía.
Y ya para finalizar pero no menos importante, el dibujo y la manera en que utiliza los paneles para ir haciendo transiciones te hace sentir que presencias un documental, que asistes no a la creación de un manga sino de un producto audiovisual. Sí, a cine, y encima le agrega imágenes en movimiento tomadas por manos temblorosas. Ya con esto creo que estoy preparado francamente para leerlo con algunas de sus historias largas porque me ha gustado lo que he encontrado en Look Back y en Adiós, Eri. Y que ganas, ojalá no me decepcione.
May 3, 2022
12 year old Yuta is given a phone to film his dying mother’s last days, the footage of which he turns into a documentary for a school project - and is soundly mocked for it by his peers. Dismayed by the reaction, he decides to kill himself by throwing himself off the roof of his school - which is where he meets the mysterious Eri who takes it upon herself to educate Yuta on films so that his next movie will be a crowd-pleaser. But Eri harbours a dark secret… or does she?
Tatsuki Fujimoto’s one-shot manga, Goodbye, Eri, is a bit of a head-scratcher. It has numerous twists and time-jumps so you’re never quite sure what you’re reading or how you’re meant to feel and the overall effect is slightly frustrated confusion. That said, it’s also original, keeps you guessing and is never too boring either, so I’m right in the middle with this one.
I’ll say SPOILERS for the rest of the review - for those of you thinking about checking this out, Goodbye, Eri is an easy enough read and fairly entertaining in its unusual storytelling style, so if you’re a manga fan and that sounds good, you’ll probably get something out of it - just don’t expect a satisfying ending!
The first part is schmaltzy but also touching and the severe left turn it takes is so very unexpected and kinda funny too. It’s an effective approach - to start with. The problem is that Fujimoto does this too many times throughout the narrative so that you don’t know what you’re meant to make of the whole thing.
Are we meant to see this as a criticism of how technology has warped our collective worldview (how Yuta can’t experience life besides through a camera lens)? Is the entire book one long movie (most of the panels are wide/short, like a phone tilted sideways, Eri tells Yuta that his next movie will tug on the heartstrings, which the part with Eri kinda does, and the book ends on an explosion, like Yuta’s first movie)? Something about how social media presents a lop-sided view of a person (Yuta’s mother was secretly physically abusive to him, Eri was kind of a bitch, but both were presented as angelic in Yuta’s movies about them)? Or do we go the literal route and believe that Eri really is a vampire?
Even if Fujimoto meant to convey any or all of the above, the effect is still underwhelming as none of those interpretations are especially meaningful or inspired. And the way that it’s left so ambiguously doesn’t help either, making it even less impressive. It’s like Fujimoto tried to be too clever for his own good and tangled himself up into knots. Maybe it’s the corny route, but the story might’ve been more powerful if he’d chosen a simpler narrative about young love, Yuta losing Eri but treasuring their time together through the movie he eventually makes about their relationship - might.
It could just be that Fujimoto only wanted to tell an entertaining story (doubtful given all the twists to make it more complex, but still) and he didn’t fail with Goodbye, Eri - I certainly think it’s better than his more popular but less compelling manga, Chainsaw Man. I don’t know how I’d categorise this one - slice-of-life, literary, mystery - but if you’re a manga fan who wants to try something a little different, Goodbye, Eri is worth a look.
Tatsuki Fujimoto’s one-shot manga, Goodbye, Eri, is a bit of a head-scratcher. It has numerous twists and time-jumps so you’re never quite sure what you’re reading or how you’re meant to feel and the overall effect is slightly frustrated confusion. That said, it’s also original, keeps you guessing and is never too boring either, so I’m right in the middle with this one.
I’ll say SPOILERS for the rest of the review - for those of you thinking about checking this out, Goodbye, Eri is an easy enough read and fairly entertaining in its unusual storytelling style, so if you’re a manga fan and that sounds good, you’ll probably get something out of it - just don’t expect a satisfying ending!
The first part is schmaltzy but also touching and the severe left turn it takes is so very unexpected and kinda funny too. It’s an effective approach - to start with. The problem is that Fujimoto does this too many times throughout the narrative so that you don’t know what you’re meant to make of the whole thing.
Are we meant to see this as a criticism of how technology has warped our collective worldview (how Yuta can’t experience life besides through a camera lens)? Is the entire book one long movie (most of the panels are wide/short, like a phone tilted sideways, Eri tells Yuta that his next movie will tug on the heartstrings, which the part with Eri kinda does, and the book ends on an explosion, like Yuta’s first movie)? Something about how social media presents a lop-sided view of a person (Yuta’s mother was secretly physically abusive to him, Eri was kind of a bitch, but both were presented as angelic in Yuta’s movies about them)? Or do we go the literal route and believe that Eri really is a vampire?
Even if Fujimoto meant to convey any or all of the above, the effect is still underwhelming as none of those interpretations are especially meaningful or inspired. And the way that it’s left so ambiguously doesn’t help either, making it even less impressive. It’s like Fujimoto tried to be too clever for his own good and tangled himself up into knots. Maybe it’s the corny route, but the story might’ve been more powerful if he’d chosen a simpler narrative about young love, Yuta losing Eri but treasuring their time together through the movie he eventually makes about their relationship - might.
It could just be that Fujimoto only wanted to tell an entertaining story (doubtful given all the twists to make it more complex, but still) and he didn’t fail with Goodbye, Eri - I certainly think it’s better than his more popular but less compelling manga, Chainsaw Man. I don’t know how I’d categorise this one - slice-of-life, literary, mystery - but if you’re a manga fan who wants to try something a little different, Goodbye, Eri is worth a look.
October 10, 2022
Isn't it nice that we may choose our own conclusions based on what we want to feel?
October 4, 2022
Tatsuki Fujimoto, whom you may know as the creator of Chainsaw Man has penned another banger. This is a one shot about a boy who loves making movies. It is a short one and won't take you much time to read. I hope you all read it.
I am gonna call this brilliant in a twisted way. I cannot believe it. I honestly felt it was a manga about "a movie that feels like a movie". Hats off to Fujimoto. He never misses. Goddamn him.
I am gonna call this brilliant in a twisted way. I cannot believe it. I honestly felt it was a manga about "a movie that feels like a movie". Hats off to Fujimoto. He never misses. Goddamn him.
November 10, 2022
Fujimoto (author of Fire Punch and Chainsaw Man) has a unique chaotic style which I like, but something about his storytelling always feels off to me.
This one-shot, for example, has some interesting ideas in it, but they are all shoved in the reader's face with no subtlety or tact as to where and how such ideas should be explored. The author feels to me a lot like the protagonist, trying to make a movie without knowing how, and Eri's criticisms of his first movie are very close to my criticisms of Fujimoto's work in general: There's something there, something strange and original and unique, but the author doesn't know how to turn his ideas into a coherent story. Or maybe, of course, his storytelling is just not for me.
This one-shot, for example, has some interesting ideas in it, but they are all shoved in the reader's face with no subtlety or tact as to where and how such ideas should be explored. The author feels to me a lot like the protagonist, trying to make a movie without knowing how, and Eri's criticisms of his first movie are very close to my criticisms of Fujimoto's work in general: There's something there, something strange and original and unique, but the author doesn't know how to turn his ideas into a coherent story. Or maybe, of course, his storytelling is just not for me.
October 12, 2022
“Yuta. Yuta, listen. I want you to… I want you to start shooting videos of me. On video, you can hear my voice and see me move. That way, even if I’m gone, you can still remember me. Can you do that for me?”
Fujimoto Tatsuki has what I can now distinguish as a very peculiar and distinct brand of writing that is both beautifully touching and dismayingly bizarre. It works well but it always leaves me with a knot of emotions and thoughts over his works.
Goodbye, Eri touches on some very human and delicate themes that are explored in a creative, oddly intimate, real way through the literal lens of a camera. It's quite the unique vehicle to tell the story and quite enrapturing because of it.
From beginning to end, Fujimoto weaves a beautiful tale, gives it heartbreaking, deepening twists, and then pulls something so out of the left field that it totally recontextualizes the story... and somehow, it still works well in the end.
Confusing, is just the first word that comes to mind when I think of this one shot, sure, but I cannot deny that it's thought-provoking, really interesting, and even when it takes a turn it retains an integrity of body and soul that only elevates the concept and end product.
I'm not sure that I'll call it a favorite but I do think everyone should give it a fair chance.
“[…] That’s why… that’s why, when I watched your movie, I was shocked! In the movie, your mom was… she was a good mom. I could only see the beautiful things about her […] I wanted my memories of her to be beautiful. Yuta, you have the power to decide for yourself how you’ll remember someone. That’s an incredible thing.”
April 10, 2022
dude???
September 19, 2023
A metafiction mindfuck that had me turning pages with a big, bewildered smile on my face.
April 17, 2023
"Creation is all about getting into the audience’s problems to make them laugh and cry, right? Well, it wouldn’t be fair if the creators didn’t get hurt too, would it?
Special memories always hold places in our minds and hearts. They could be happy, sad, and even strange memories that let us remember the ones who have brought a lot of love into our lives. Recording those precious moments makes us bring those heartwarming times back to life.
Goodbye, Eri does just that and so much more. I don’t know how this author does it but they know how to make us feel a bucket full of emotions all at once. The story was so good and I couldn’t put it down. You felt the sadness and love flowing through these pages. It was wonderful.
Special memories always hold places in our minds and hearts. They could be happy, sad, and even strange memories that let us remember the ones who have brought a lot of love into our lives. Recording those precious moments makes us bring those heartwarming times back to life.
Goodbye, Eri does just that and so much more. I don’t know how this author does it but they know how to make us feel a bucket full of emotions all at once. The story was so good and I couldn’t put it down. You felt the sadness and love flowing through these pages. It was wonderful.
April 16, 2022
واقعا نمیدونم چی بگم و چطور احساساتم رو با کلمات بنویسم …
فوق العاده بود
شروع دردناکی داشت و به وسطای مانگا رسید عملا از شدت غم میخواستم گریه کنم …
چیزایی که بر سر شخصیت اصلی گذشت و چقدر زندگی باهاش بد تا کرد و همچنین مادرش و وقتی شخصیت اصلی ما به بیچارگی میرسه با دختری به اسم اری آشنا میشه … اری پنجرهی امید دوباره به زندگیه شخصیت داستانه ولی ….
فقط برید بخونید
هیجان و غم فراوان رو باهم تجربه کنید…
فوق العاده بود
فوق العاده بود
شروع دردناکی داشت و به وسطای مانگا رسید عملا از شدت غم میخواستم گریه کنم …
چیزایی که بر سر شخصیت اصلی گذشت و چقدر زندگی باهاش بد تا کرد و همچنین مادرش و وقتی شخصیت اصلی ما به بیچارگی میرسه با دختری به اسم اری آشنا میشه … اری پنجرهی امید دوباره به زندگیه شخصیت داستانه ولی ….
فقط برید بخونید
هیجان و غم فراوان رو باهم تجربه کنید…
فوق العاده بود
April 21, 2022
Sayonara, Eri is unputdownable, original, and is a true definition of Fujimoto Tatsuki.
I read this amazing lengthy one-shot the other day! I didn't know it was here already! I love how complex the story is. It's like Fujimoto is writing a maze of events that will surely tug at your heartstrings, only to crumple it afterward and toss it to you—but you'll still call it a masterpiece!
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.
This is a wonderful ride. I liked the premise of the story. It is a series of blurry home videos that represents the rawness and surrealism of the series as a whole. And how these details were dismissed by the all-consuming fire at the end of two separate films that can depict not only our aggressive way of thinking but also our long fight for freedom and peace of mind.
The main character, Yuta, is long troubled by the surreal events that took place, and yet finally, he learned to be able to free himself from the claws that have been holding him back. The videos are a curse in his shackled life. It represents the subjectiveness of truth, he made himself believe that it can be genuine, but in reality, it ties us down. That is why I think, Fujimoto is a genius to add these metaphors as a way of freeing oneself. Sayonara, Eri speaks volumes. This is why I love metaphors!!
It was very emotional as it was very satisfying. I love this. Fujimoto has a knack for drawing a series of silent events that is very touchy-feely even without dialogue. I guess that is one of his techniques, because I also noticed it in Chainsaw Man. Although his tone and creativity may be similar to Quentin Tarantino's complex mind (I love them both!!), we can definitely distinguish him from that American point-of-view, because sensei's texture is screaming Japanese purity. I guess great minds think alike. And I love just how Fujimoto makes me cry. It was a painful cry, but all the same good one.
I decided the other day that I will consume anything sensei published from then on. That's how remarkable his works are.
I read this amazing lengthy one-shot the other day! I didn't know it was here already! I love how complex the story is. It's like Fujimoto is writing a maze of events that will surely tug at your heartstrings, only to crumple it afterward and toss it to you—but you'll still call it a masterpiece!
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.
This is a wonderful ride. I liked the premise of the story. It is a series of blurry home videos that represents the rawness and surrealism of the series as a whole. And how these details were dismissed by the all-consuming fire at the end of two separate films that can depict not only our aggressive way of thinking but also our long fight for freedom and peace of mind.
The main character, Yuta, is long troubled by the surreal events that took place, and yet finally, he learned to be able to free himself from the claws that have been holding him back. The videos are a curse in his shackled life. It represents the subjectiveness of truth, he made himself believe that it can be genuine, but in reality, it ties us down. That is why I think, Fujimoto is a genius to add these metaphors as a way of freeing oneself. Sayonara, Eri speaks volumes. This is why I love metaphors!!
It was very emotional as it was very satisfying. I love this. Fujimoto has a knack for drawing a series of silent events that is very touchy-feely even without dialogue. I guess that is one of his techniques, because I also noticed it in Chainsaw Man. Although his tone and creativity may be similar to Quentin Tarantino's complex mind (I love them both!!), we can definitely distinguish him from that American point-of-view, because sensei's texture is screaming Japanese purity. I guess great minds think alike. And I love just how Fujimoto makes me cry. It was a painful cry, but all the same good one.
I decided the other day that I will consume anything sensei published from then on. That's how remarkable his works are.
April 23, 2022
Tatsuki Fujimoto does it again. He manages to surprise me with an unexplainable level of consistency in unpredictability. As with his previous works, "Goodbye Eri" spirals out of control toward the middle of the story, and the reader is left wondering what is next. I devoured this 200-page manga in less than an hour simply because I could not stop reading. His writing is fascinating, and this manga showcases that once again. It brings in some well-orchestrated changes in perspective of the main character (Yuta) and his camera. The reader is left wondering if he has truly captured every moment of importance (wink). Such a unique one-shot. I can't recommend it enough if you are already a fan of his work. However, I must warn you... if you're not a fan of Fujimoto's work there is a chance you will not enjoy "Goodbye Eri" because he doesn't seem to be eager to let go of his unpredictability and his chaotic endings.
July 19, 2023
A really interesting short manga by Tatsuki Fujimoto of Chainsaw Man fame. It's quite a departure from that book. Here the manga is mostly shown from a first person perspective and we see the story of a young man making a home film of his mother's final days. Later he meets Eri who inspires him to expand the film into a longer movie. There's a twist at the end that was pretty cool.
July 19, 2023
I felt so many different emotions reading this wtf.
I loved how the art was shaky/out of focus since the mc was filming everything throughout the story.
I loved how the art was shaky/out of focus since the mc was filming everything throughout the story.
April 19, 2022
3,5
Me ha gustado la historia y el curso que toma, ese mensaje de cómo se ve a las personas en contraposición de como son en realidad, me ha llamado mucho la atención la forma en la que lo abordó el manga, y sobre todo lo que transmite el protagonista, genera una atmósfera de sentimientos muy peculiar.
Me ha gustado la historia y el curso que toma, ese mensaje de cómo se ve a las personas en contraposición de como son en realidad, me ha llamado mucho la atención la forma en la que lo abordó el manga, y sobre todo lo que transmite el protagonista, genera una atmósfera de sentimientos muy peculiar.
February 29, 2024
Una historia bastante cinematográfica y emotiva. No tengo mucho para comentar al respecto, me gustó un montón. Quizá hubiera esperado un desenlace diferente, pero está bien igualmente.
May 16, 2022
Vi consiglio la lettura, è un'opera validissima. Fujimoto nonostante sia un artista giovane, sembra un mangaka con dietro un'esperienza lunghissima. Sono da tenere d'occhio le sue prossime opere nonostante già ora sia un autore molto apprezzato.
5 stelle ma ne meriterebbe molte di più.
5 stelle ma ne meriterebbe molte di più.
December 26, 2022
hm. wow.
....
the story started off then gobbled itself and revived
not sure if i should be glad that i can't fully understand the story but mm yeah
I am left feeling a bit bizarre haha
....
the story started off then gobbled itself and revived
not sure if i should be glad that i can't fully understand the story but mm yeah
I am left feeling a bit bizarre haha
April 11, 2022
What a story.... this one is trully good. You can feel his saddest about his mom but the there's twist that make you feel angry at that point/? But then sad again because of his friend's dying.. idk. Then you feel confused for the ending... Fujimoto's oneshoot manga is the best 🤧
May 29, 2022
:''''''''''''''''''''''''''''''''''D
September 13, 2022
Such a beautiful, twisty heartfelt and touching story that left me sad and also lowkey traumatized
July 14, 2022
End. 1401/4/23
5
ریویو فارسی/ English review
▪️مانگا تک جلدی هست
▪️ داستان مانگا خیلی پیچیده هست
▪️ فراز و نشیب های زیادی داره
▪️ بُد زمانی های زیادی وجود داره ولی بطوری هست که بشه متوجه بشیم.
▪️داستان ماجرایی داره که خیلی سریع و آسون بیان میشه، با اینکه آسونه و سرگرم کنندهست ولی روایت طوری هست که شما رو گیج میکنه و نویسنده به شما اجازه نمیده که کل داستان رو بفهمید.
▪️در عینحال مجهولی وجود نداره در داستان، ولی شاید پایانی مجهول و مفهومی مجهول در ذهن خواننده ایجاد کنه. (این قدرت داستان نویسنده هست)
▪️در داستان شاید مغز شما، سوالاتی مطرح کنه:
نکنه داستان کلش یک فیلم بوده؟ (مخصوصا اگه توجه کنید تمامی صحنه های داستان مثل فرمهای سینمایی نقاشی شده است، جز چندتا از نقاشیها که خیلی کم بوده)
اری واقعا خونآشام بود؟
🚫این بخش اسپویل دارد🚫
(متاسفانه نمیشه بدون اسپویل این بخش ها رو اضافه کرد و گفته بشه)
من با داستان همزادپنداری عجیبی دارم.
شاید بنظرم شما اون صحنه انفجار در اولین فیلم خیلی بد و عجیب بیاد ولی من تونستم حس کنم و واقعا بفهممش. چیزی که شاید متوجه نشید یا بعد در جملههای یوتا میتوجه بشید.
(اوه چرا؟ خب من مادرم رو خیلی سال شده از دست دادم و بله مثل شخصیت اول فیلم من هم اون احساس رو دارم و همچین چیزی برای من هم اتفاق افتاده.
دیالوگ مانگا⬇️
مشکل شخصیت اصلی... احتمالا این نیست که فیلمش مسخره شده. شاید این بوده که مرگ مادرش رو ضبط نکرد...... اره شخصیت اصلی پشیمون میشه و فرار میکنه. اون پشونه چون نتوست آخرین لحظات مادرش، کنار اون باشه.)
داستان به یک بخش عجیبی اشاره کرد ولی احتمالا بخشی هست که نتونسته زیاد نشون داده بشه
(بنظرم میتونست بهتر در داستان روایت بشه)
اینکه چطوری در فیلم های ساخته شده توسط یوتا، مادر یوتا و آری هر دو به مانند...
فرشته و انسان های عالی بودند✅
ولی اینطور نبودند❎
در پشت ماجرا ما بعدا میتوجه میشیم که مادر یوتا از اون سواستفاده کرد تا فیلمی ازش باقی بمونه و اونو مورد آزارهای روحی قرار داد و چقدر بدرفتار بوده.
اری یک خونآشام بوده(تحلیل شما) و به بیان دوستانش اون خودشیفته بوده، اری همیشه حرف هاش باید عملی میشد.
فیلمها همیشه میتونن بر ذهن و قضاوت ما تاثیر بزارن و دید ما رو عوض کنن و این نکته ای بود که نشون داده شد📽
دیالوگ مانگا⬇️
هیچوقت نمیتونی اینو از فیلم بفهمی... اما اری یه اخلاقی داشت. اون خیلی خودشیفته بود. یعنی اون یه عوضی تمام عیار نبود؟
ولی اری تو(منظورش داخل فیلم هست) بیش از حد ایدآل بود...... این اری ایدآل همیشه داخل ذهن من میمونه.
▪️It is a one-volume manga
▪️ The manga story is very complicated
▪️ It has many ups and downs
▪️ There are many times, but there is a way to understand it.
▪️The story has a story that is told very quickly and easily, although it is easy and entertaining, but the narration is such that it confuses you and the author does not allow you to understand the whole story.
At the same time, there is no unknown in the story, but maybe it creates an unknown ending and an unknown concept in the mind of the reader. (This is the power of the author's story)
▪️ In the story, your brain may raise questions:
Wasn't the whole story a movie? (Especially if you notice that all the scenes of the story are painted like cinematic forms, except for a few paintings that were very few)
Was Eri really a vampire?
🚫 This section contains spoilers🚫
(Unfortunately, these sections cannot be added without spoilers)
I have a strange affinity with the story.
Maybe you think that explosion scene in the first movie is very bad and strange, but I could feel it and really understand it. Something that you may not understand or you will understand later in Utah's sentences.
(Oh why? Well, My mother died many years ago, and yes, I have the same feeling as the first character in the movie, and something like this happened to me.
Manga dialogue ⬇️
The main character's problem... is probably not that his movie is mocked. Maybe it was because he didn't record his mother's death... Yes, the main character regrets and runs away. He is sad because he did not want to be with his mother during her last moments.)
The story mentioned a strange part, but it is probably a part that could not be shown much
(I think it could be narrated better in the story)
How in the movies made by Yuta, Yuta's mother and Ari are both like...
They were angels and great people✅
But they were not like that❎
Behind the story, we later find out that Yuta's mother used her to make a film of her and subjected her to emotional abuse and how abusive she was.
Eri was a vampire (your analysis) and according to his friends, he was a narcissist, Eri always had to act on his words.
Movies can always affect our mind and judgment and change our vision and this was the point that was shown📽
Manga dialogue⬇️
You can never understand this from the movie... But Ari had a moral. He was very narcissistic. I mean, he wasn't a total bitch?
But Eri Tu (meaning in the movie) was too ideal... this Eri ideal will always remain in my mind
5
ریویو فارسی/ English review
▪️مانگا تک جلدی هست
▪️ داستان مانگا خیلی پیچیده هست
▪️ فراز و نشیب های زیادی داره
▪️ بُد زمانی های زیادی وجود داره ولی بطوری هست که بشه متوجه بشیم.
▪️داستان ماجرایی داره که خیلی سریع و آسون بیان میشه، با اینکه آسونه و سرگرم کنندهست ولی روایت طوری هست که شما رو گیج میکنه و نویسنده به شما اجازه نمیده که کل داستان رو بفهمید.
▪️در عینحال مجهولی وجود نداره در داستان، ولی شاید پایانی مجهول و مفهومی مجهول در ذهن خواننده ایجاد کنه. (این قدرت داستان نویسنده هست)
▪️در داستان شاید مغز شما، سوالاتی مطرح کنه:
نکنه داستان کلش یک فیلم بوده؟ (مخصوصا اگه توجه کنید تمامی صحنه های داستان مثل فرمهای سینمایی نقاشی شده است، جز چندتا از نقاشیها که خیلی کم بوده)
اری واقعا خونآشام بود؟
🚫این بخش اسپویل دارد🚫
(متاسفانه نمیشه بدون اسپویل این بخش ها رو اضافه کرد و گفته بشه)
من با داستان همزادپنداری عجیبی دارم.
شاید بنظرم شما اون صحنه انفجار در اولین فیلم خیلی بد و عجیب بیاد ولی من تونستم حس کنم و واقعا بفهممش. چیزی که شاید متوجه نشید یا بعد در جملههای یوتا میتوجه بشید.
(اوه چرا؟ خب من مادرم رو خیلی سال شده از دست دادم و بله مثل شخصیت اول فیلم من هم اون احساس رو دارم و همچین چیزی برای من هم اتفاق افتاده.
دیالوگ مانگا⬇️
مشکل شخصیت اصلی... احتمالا این نیست که فیلمش مسخره شده. شاید این بوده که مرگ مادرش رو ضبط نکرد...... اره شخصیت اصلی پشیمون میشه و فرار میکنه. اون پشونه چون نتوست آخرین لحظات مادرش، کنار اون باشه.)
داستان به یک بخش عجیبی اشاره کرد ولی احتمالا بخشی هست که نتونسته زیاد نشون داده بشه
(بنظرم میتونست بهتر در داستان روایت بشه)
اینکه چطوری در فیلم های ساخته شده توسط یوتا، مادر یوتا و آری هر دو به مانند...
فرشته و انسان های عالی بودند✅
ولی اینطور نبودند❎
در پشت ماجرا ما بعدا میتوجه میشیم که مادر یوتا از اون سواستفاده کرد تا فیلمی ازش باقی بمونه و اونو مورد آزارهای روحی قرار داد و چقدر بدرفتار بوده.
اری یک خونآشام بوده(تحلیل شما) و به بیان دوستانش اون خودشیفته بوده، اری همیشه حرف هاش باید عملی میشد.
فیلمها همیشه میتونن بر ذهن و قضاوت ما تاثیر بزارن و دید ما رو عوض کنن و این نکته ای بود که نشون داده شد📽
دیالوگ مانگا⬇️
هیچوقت نمیتونی اینو از فیلم بفهمی... اما اری یه اخلاقی داشت. اون خیلی خودشیفته بود. یعنی اون یه عوضی تمام عیار نبود؟
ولی اری تو(منظورش داخل فیلم هست) بیش از حد ایدآل بود...... این اری ایدآل همیشه داخل ذهن من میمونه.
▪️It is a one-volume manga
▪️ The manga story is very complicated
▪️ It has many ups and downs
▪️ There are many times, but there is a way to understand it.
▪️The story has a story that is told very quickly and easily, although it is easy and entertaining, but the narration is such that it confuses you and the author does not allow you to understand the whole story.
At the same time, there is no unknown in the story, but maybe it creates an unknown ending and an unknown concept in the mind of the reader. (This is the power of the author's story)
▪️ In the story, your brain may raise questions:
Wasn't the whole story a movie? (Especially if you notice that all the scenes of the story are painted like cinematic forms, except for a few paintings that were very few)
Was Eri really a vampire?
🚫 This section contains spoilers🚫
(Unfortunately, these sections cannot be added without spoilers)
I have a strange affinity with the story.
Maybe you think that explosion scene in the first movie is very bad and strange, but I could feel it and really understand it. Something that you may not understand or you will understand later in Utah's sentences.
(Oh why? Well, My mother died many years ago, and yes, I have the same feeling as the first character in the movie, and something like this happened to me.
Manga dialogue ⬇️
The main character's problem... is probably not that his movie is mocked. Maybe it was because he didn't record his mother's death... Yes, the main character regrets and runs away. He is sad because he did not want to be with his mother during her last moments.)
The story mentioned a strange part, but it is probably a part that could not be shown much
(I think it could be narrated better in the story)
How in the movies made by Yuta, Yuta's mother and Ari are both like...
They were angels and great people✅
But they were not like that❎
Behind the story, we later find out that Yuta's mother used her to make a film of her and subjected her to emotional abuse and how abusive she was.
Eri was a vampire (your analysis) and according to his friends, he was a narcissist, Eri always had to act on his words.
Movies can always affect our mind and judgment and change our vision and this was the point that was shown📽
Manga dialogue⬇️
You can never understand this from the movie... But Ari had a moral. He was very narcissistic. I mean, he wasn't a total bitch?
But Eri Tu (meaning in the movie) was too ideal... this Eri ideal will always remain in my mind
October 12, 2023
Jedan emotivni rolerkoster od mange!
Goodbye, Eri je priča koja fenomenalno prikazuje kako se borimo sa emocijama, kako vidimo ljude oko sebe i na koji način možemo da ih sačuvamo.
Retko mi se dešava da uzmem mangu ili strip i pročitam je u jednom sittingu a Goodbye, Eri nisam mogla da ispustim. Od mene preporuka za ovu divnu mangu!
Goodbye, Eri je priča koja fenomenalno prikazuje kako se borimo sa emocijama, kako vidimo ljude oko sebe i na koji način možemo da ih sačuvamo.
Retko mi se dešava da uzmem mangu ili strip i pročitam je u jednom sittingu a Goodbye, Eri nisam mogla da ispustim. Od mene preporuka za ovu divnu mangu!
April 20, 2022
What started out as avant-garde and provocative sadly dissolved into something less than admirable. The moment it sidled into the realm of fantasy was the moment this thought-provoking one-shot lost its power and fell down from a clear 5 stars to 3 stars.
This began much in the vein of Albert Camus’ The Outsider as it was a manga featuring characters that demanded not to be told how to mourn. They saw the boundary of societal expectations and danced across it mockingly. The social commentary on that was brilliant. Even when it began to explore the idea of memories and perception it was as though the manga was piercing straight through the heart of some interesting societal problems that were so refreshing to see addressed.
The unexpected twists, the shifts between themes, and the unlikely parallels were what made this feel like a literary work of art. Yet, when it disregarded all the foundations it had laid with that bizarre and meaningless ending, it destroyed any poignant message or engaging moment that had preceded it. The content was unfavourable in a societal and moral sense but at least it was believable up until that ending point, then it became ludicrous and it ruined such a well-illustrated and well-constructed manga.
This began much in the vein of Albert Camus’ The Outsider as it was a manga featuring characters that demanded not to be told how to mourn. They saw the boundary of societal expectations and danced across it mockingly. The social commentary on that was brilliant. Even when it began to explore the idea of memories and perception it was as though the manga was piercing straight through the heart of some interesting societal problems that were so refreshing to see addressed.
The unexpected twists, the shifts between themes, and the unlikely parallels were what made this feel like a literary work of art. Yet, when it disregarded all the foundations it had laid with that bizarre and meaningless ending, it destroyed any poignant message or engaging moment that had preceded it. The content was unfavourable in a societal and moral sense but at least it was believable up until that ending point, then it became ludicrous and it ruined such a well-illustrated and well-constructed manga.
April 10, 2022
Speechless. Habrá que seguir a Fujimoto de cerca.
April 11, 2022
Obviously it is excellent; obviously it is a hell of a ride; we talk about Tatsuki Fujimoto here, a capital A auteur.
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.
All this being said, for as much as he talks about "classic Hollywood storytelling" here, Fujimoto's core problem is usually that he loves plot twists that he only includes to throw people off, as though he has to keep things interesting for himself in narratives that are already interesting as hell (the sole exception in my eyes is Chainsaw Man; unsurprisingly that was also the one where he was likely more closely confined to "keeping it cute"; if not in content, then in form and via the target audience/mainstream). He includes two plot twists here, and both times only barely gets away with it because of the sheer chutzpah that dominates his every page and dialogue. The ending felt very Fujimoto-esque in that manner.
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.
All this being said, for as much as he talks about "classic Hollywood storytelling" here, Fujimoto's core problem is usually that he loves plot twists that he only includes to throw people off, as though he has to keep things interesting for himself in narratives that are already interesting as hell (the sole exception in my eyes is Chainsaw Man; unsurprisingly that was also the one where he was likely more closely confined to "keeping it cute"; if not in content, then in form and via the target audience/mainstream). He includes two plot twists here, and both times only barely gets away with it because of the sheer chutzpah that dominates his every page and dialogue. The ending felt very Fujimoto-esque in that manner.
March 31, 2024
i’m so in love with the brain of fujimoto
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