Goodbye Eri: The one-shot from Chainsaw Man mangaka Tatsuki Fujimoto captures his love of cinema

The cover of Sayonara Eri on Manga Plus (Image via Shueisha)
The cover of Sayonara Eri on Manga Plus (Image via Shueisha)

Goodbye Eri, the 200-page one-shot from Tatsuki Fujimoto, mangaka of Chainsaw Man and Look Back, was released today by Shueisha. The manga is a testament to Fujimoto’s slightly obscure, subjective story-telling, backed by his characteristic fluid art style.

Fujimoto plays a homage to his love for cinema and videography through this manga while also capturing the different aspects of death. the manga features triggers such as mentions of suicide, long-term illnesses, and death. Therefore, reader discretion is advised.

Tatsuki Fujimoto delves into the depths of perception and memory in his one-shot Goodbye Eri

Goodbye, Eri: A special 200-page one-shot by Tatsuki Fujimoto, the creator of Chainsaw Man! Read it FREE from the official source!

Goodbye Eri is 199 pages long, with one cover page. It is a one shot, meaning that the entire story is told in a single volume or chapter. The manga is available for free reading on Viz, Manga Plus, and the Shonen Jump App. Since it is a one shot, the entire story can be availed on these sites, bypassing the usual three-chapter rule.

Note: Minor spoilers from Goodbye Eri ahead.


While trying to gather all of my thoughts on Goodbye Eri since reading it's made me appreciate what I already did even more when it comes to interacting with Fujimoto's stories. Like Eri, most of them aren't straight foward & instead challenges the reader to figure them out.

Goodbye Eri follows a boy named Yuta, who films his dying mother’s everyday moments at her request. After her death, he turns it into a documentary, receiving a terrible backlash and deciding to jump from the top of the hospital she was admitted to. It is here that he meets one of his schoolmates, a girl named Eri.

Eri encourages Yuta to follow his passion regarding movies, and the two decide to make another film. The rest of the manga chronicles Yuta’s journey with Eri, how he slowly learns how to capture the right moments of someone’s life, and how he comes to deal with his mother’s death in the process.

Fujimoto’s Art style

My favorite panel from all of Goodbye Eri. Fujimoto's ability to portray smooth motion in still images is something that's always impressed about his artwork. It's almost as it I could feel the weight of Eri falling here and Yuta reaching out to catch her

Tatsuki Fujimoto is known for his fluid, organic art-style. His paneling and shading have garnered praise even before Chainsaw Man was published. However, Goodbye Eri is distinctly different in the paneling department because Fujimoto adopts an evenly spaced, symmetrical panel system with parallel edges, as opposed to the customized asymmetrical paneling style used in regular manga.

The double-spread displaying Fujimoto's artistic choice (Image via Shueisha)
The double-spread displaying Fujimoto's artistic choice (Image via Shueisha)

Additionally, dialog-less panels, often full pages, dominate the one-shot. One double-spread is filled with just eight black, evenly spaced rectangles, as shown above. This page, in particular, conveys the break in the story, a time skip of sorts.

The facial expressions in Goodbye Eri might be the best I've ever seen from Tatsuki Fujimoto. In this scene alone he was able to draw Eri expressing sincerity, confliction, obsession, focus, control, comfort, pleased, stoic, and even a welcoming aura to top it all off

The facial expressions of the characters are incredibly expressive, but one thing to note is the lack of screentime for the protagonist, Yuta. True to its name, the manga focuses on Eri, seen often through the screen of a smartphone. Fujimoto fleshes out Eri to the fullest, and in contrast, leaves Yuta, more often than not, out of focus or framed in a long-shot.

Final thoughts

Goodbye Eri and Chainsaw Man...

It would be imprudent to read Goodbye Eri while expecting something similar to Chainsaw Man. This one-shot is far more experimental and nuanced, and leaves the reader thinking about it long after the manga is finished. The story is told in an intentionally choppy way, with subtle notes of character study and psychology thrown in.

The art style complements the plot and vice versa. Tatsuki Fujimoto has been perfecting his hand at telling unique, abstract stories that rely on the reader’s interpretation since well before his magnum opus, and this one-shot might be the pinnacle of that. It is debatable whether this is Fujimoto’s best work, but it is definitely worth reading.

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Edited by Mayank Shete
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