To anyone who has lost a loved one, I’m sorry. Not just for the loss of that individual. But also for the ineffable anguish that comes during and immediately after the passing that lasts for what feels like an eternity, which for some, it is. Tatsuki Fujimoto’s sentimental masterpiece explores the woes of that loss and a person’s melancholic outlet to coping with it. All whilst simultaneously tackling the biases of edited film and media.
Before I begin, I implore everyone reading this review to read Sayonara Eri first because this review will discuss major events within the story that aren’t necessarily unexpected. But are more powerful when experienced first-hand. All spoilers will be delineated with the *Spoilers ahead* message before the paragraph even if only a portion of the paragraph discusses narrative content for an easier and safer spoiler-free read (however there won’t be much to read without the spoilers). With that out of the way, let’s begin.
*Spoilers ahead*
Sayonara Eri is the story of a seemingly emotionally damaged student, Yuta, and his cathartic journey to move on from the loss of his mother and later Eri. When you begin reading Sayonara Eri, Yuta comes off as an insensitive detestable brat. His addition of a Joker-esque hospital explosion in an otherwise loving video of his mother leads you to only wonder how someone so sociopathic could have edited the sections leading up to it. This sentiment is only repeated through countless students and even his own father. Leading to his first suicide attempt that contributes to the story’s ever-present nihilistic theme. However, he’s stopped by Eri, an unassuming peer who actually enjoyed his unforgiveable tribute piece. Dedicating her remaining time to help him create a moving piece of film that emotionally provokes his classmates and the readers themselves. As this part of the story moves on, we get to see the reasoning behind Yuta’s decision to add the explosions; a futile excuse as to why he didn’t record her mother in her dying moments. Sublimely presenting his ceaseless crave of fantasy as a mechanism to remember things as how he wishes them to be. An excellent turnaround for a dislikeable character that some stories can’t accomplish with 10 times the length.
One of Fujimoto’s most interesting additions, are the black bars recreation of a video recording from a phone. They help detach the footage from reality within the manga as they enforce the notion that the audience is quite literally never getting the full picture (with the exception of a few panels). Evidenced by Yuta’s mom’s shift from her primordial characterization to what his dad reveals her to be; an abusive mother who wanted to film a duplicitous comeback piece for her studio. In its antithesis, the switch from Yuta’s dad being argumentative to supportive of Eri provides perfect juxtaposition for how easily an audience can be manipulated through film. Contributing to the idea that if such bleakness is pervasive in edited footage, Yuta’s life off camera must be even more depressing manyfold. Finally, perhaps the most harrowing of all, you as the audience come to the jarring realization that Eri is only ever shown through this medium as well. The saint who solely talked Yuta off suicide and reinvigorated his interest to film comes off as a sad manipulative attempt to be remembered positively by her peers, in which she succeeds. Exhibiting the prevailing issue that “after passing, you are only remembered by other’s dwindling memories of you”. However the recorded footage not just the explosions, but in its entirety, represent a permanent fantasized testament to you as a person. As evidenced by Eri actually appearing as Yuta’s fantasized vampire decades later in his warped imagination and her thankfulness for the video during the final scene.
*Spoilers end*
The drawings for Sayonara Eri are good, nothing groundbreaking but very solid. However what makes them special are the nuanced approaches to amateur camera work. The slanted shots, the varying distances in shots, and the sudden frame shifts all fit in extremely well with this self-aware gem. In addition, even though I find the typical black and white aesthetic a hindrance to my enjoyment of manga. It works really well with Sayonara Eri and contributes nicely to the somber atmosphere set up. As an extension, for an amateur manga reader such as myself. I found it much easier to read than your typical manga with its formulaic layout. It might serve as a great recommendation to many of your friends looking for a quick read depending on their interests.
In summation, Sayonara Eri is a brilliant depiction of a misunderstood child in the face of tragedy and it beautifully encapsulates the sort of naive idealism you so desperately try to maintain in the face of such a loss. Combined with its great artwork and emotion-heavy story. It’s an easily-accessible short read that I believe is worth the read if you have any interest in human drama or have experienced anything similar. So when someone asks me how great Sayonara Eri is? I say it’s the best thing since sliced bread, but that might only be because dramatic masterpieces are my jam.