^{PART 43 of 52 ONESHOTS in 52 WEEKS
山本英夫の『さよなら身体』 “Sayonara Karada” by YAMAMOTO Hideo}

Hideo Yamamoto is a mangaka best known for his psychological thrillers, notably the series Nozokiya, Ichi the Killer and Homunculus, all of which have been adapted to film. His works often explore the human psyche, with recurring motifs including crime and sexual deviations.

From Ichi the Killer in 1991 to HIKARI-MAN in 2020, all of the author’s manga was published in Big Comic Spirits, including his most prominent oneshot, Sayonara Karada. The short, which featured in a 2014 issue, explores the notion of death and separating from a loved one, with the title translating to ‘Goodbye Body.’

Opening atop a hill abundant in beautiful nature, young couple Kazuki and Mayumi prepare to say goodbye. Kazuki is afflicted by illness and doesn’t have long left — as the two enjoy a final moment together, Kazuki’s soul seemingly slips from his body, and floats around possessing several small animals before its final departure.

Hideo Yamamoto’s work is quite renowned for its graphic nature, with front-on depictions of violence and sexual aberration. It is this no-holds-barred approach that allows him to so vividly explore some uncomfortable and unusual themes. Sayonara Karada is understandably much lighter than the author’s long-running manga, but is not without Yamamoto’s risqué proclivities.

The visibly deteriorated Kazuki laments how he’s unable to eat, walk, or make love, describing his body as too big and heavy to control. He falls forward out of his wheelchair, only to transform into a liquified state, which passes into the mouth of a small dog standing in front of him. Now possessing the dog, Kazuki is able to do all the things his body was incapable of. He runs around and eats his favourite food — but not before passionately kissing Mayumi, who recognises Kazuki’s tongue play.

It’s an odd scene that goes so far it becomes gratuitous. While the author employs sexual content well in some of his other work, whether that be to explore and delineate psychology in the series Homunculus, or to stage some outlandish comedy moments in Okama Hakusho, here its inclusion feels bluntly lecherous. That said, it has been entertaining to read comments online, where reactions seem divided between bemusement and disgust.

Lewdness aside, the second half of the manga is actually quite tender and moving, with Kazuki’s soul growing weaker still. He moves from animal to animal, getting physically smaller each time, eventually possessing a dragon fly. Yamamoto does well in expressing the unparalleled beauty of love and life through the lens of death.

Yamamoto’s artwork is splendid, with vivid characters and scenery. His fine command of tone and shade allow him to render some keenly picturesque spreads. The bold style here is quite distinct from Yamamoto’s earlier work, with a realistic approach over his initial stylised and more manga-typical art.

Hideo Yamamoto hasn’t authored as many oneshots as some of his peers, but he certainly leaves an impression with Goodbye Body. Visually it is excellent and the poignant idea at its core does shine through, but it lands a bit awkwardly with its smutty material. You’ll need a wicked sense of humour to get fully on board with it all.

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