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Looking through a few of Takano's images, many of the girls she paints seem to be following the patterns of being open on display, and blank, not really seeming to be in control of their own world.
In this image, these feelings seem to be pushed to the extreme. Here we see a boy with a mask of a demon. He is having sex with, possibly even raping a girl. The girl herself is laying down, arms behind her head, making a line that runs off of the page. The pig behind her mirrors this same line, bringing your attention to it, and then to the rest of the farm animals looking on from behind the boy and girl. Also present in this group is a squid, along with two small figures, a keychain, and a watermellon next to the pig.
Both the girl's gaze and the boy's gaze are pointed at the viewer. However, their gazes are still completely different. The boy's gaze is masked, and thus, while he looks at us, we cannot truly look back at him. The girl's gaze though, is wide eyed and blank, giving the impression that she is more looking inward, to her own world, than outward to ours. In this sense, we look at her, but she does not really look back at us. In fact, we are actually able to look more deeply inside of her, getting a sense of how she is feeling. This directs all of the voyeuristic attention to the girl instead of the boy, mimicking how girls are usually portrayed as an object to be looked at. The horse could even be interpreted to be looking at the girl only; as although its gaze is unclear due to pupil-less eyes, its head is still pointed at the girl, enforcing that she is something to be viewed.
The pig underneath the girl is also very important to the image. It directly parallels the girl; sitting right beside her, painted with similar colors, nipples on display, flipped on its back in the same pose as the girl. This makes it appear as if the girl is a pig herself, just another farm animal made to serve a purpose; disposable and ready to be consumed. This thought is mirrored by the watermelon next in line after the pig, which has already had a bite taken out of it; it has been partially consumed.
Tying the image together, it overall projects an eerie message that the girl, and perhaps by relation all girls, are there to be consumed by men. I think this ties into both the ideas of rampant consumerism that we have been seeing, and also the heavy sexualization of women, and even girls. In this way, the image's eerie character questions the rampant themes of consumerism and sexualization.
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Here DOB is once again shown to be multifaceted, filling of the picture with both a large, central DOB along with small projections of DOB. This follows several other works of Murakami which show a multifaceted DOB. In this image however, DOB is sick; his bright colors dulled, eyed glazed, oozing colors and shapes reflecting DOB puking (as the title would suggest).
As Murakami stated, this image originated from his own feelings of sickness together with his need to produce another image under a time constraint. He uses the essentially meaningless DOB to convey his feelings...which then convey meaning, due to the connotations associated with DOB. Here for instance, I could propose that DOB is perhaps 'sick on cute'; his rainbow colors and cute image now distorted, representing the breakdown of his cute interior. I could also say that this could be connected to the fast amount of cute being consumed by the public; similar to how a small child may get sick from eating too many sugary sweets. In this manner, I think this is a good example as Murakami's Superflat... Murakami himself might see this as merely indicative as a time he was sick, while someone else might fill it with all sorts of different meanings.
And although this image is a DOB puking, what would normally be a unpleasant sight, this image still retains a 'trendy' factor, with its explosion of color, shapes, the iconic DOB, and even a little bit of cute mixed in with scary in his dopey, yet sharp toothed expression. Again, this showcases the ma space of Murakami's superflat.
