It’s an interesting bit of irony to me that this whole fight between Amon and Donato was built up as such a heroic moment for the alliance. After all, Amon was able to find Donato in the first place because historic enemies like Fueguchi and Akira were able to work together to pinpoint him.
Then we lead into Amon finally heroically charging in to settle his grudge against his foster father which has been building the entire manga. His entrance even parallels the heroic entrance that Amon made to save Akira from Seidou.
i love how Itori is watching Uta and Yomo fight like [x]
hey guys, on the subject of “Yomo won against Uta???”, I know the chapter isn’t out yet, but I just want to say that it makes sense considering the recurring themes of TG + the fact that Ishida ironically debunked the power ranking
shonen
trope a while ago.
Keep in mind, this is why Yomo fights…
vs this is the reason for the Clowns (and thus Uta)
so this is yet one more reminder that hope & love >> despair & loneliness in TG.
I strongly doubt that in terms of raw strength Yomo is stronger than Uta (not that I think there is that much of a gap between them, but all in all Uta is probably physically stronger). However Yomo’s reasons for fighting (and wanting to win against Uta) in this precise moment make him stronger than Uta who feels mostly loneliness if he’s not playing around.
It’s Mutsuki winning over Seidou during the Rushima arc all over again, it’s not about raw strength but about what makes you strong enough to win.
I mean it’s funny you bring that up, because Yomo’s last fight against Mutsuki lampshaded that exact same thing.
Also, in Takizawa’s own fight against Mutsuki I wouldn’t call what Mutsuki fought against Seidou with was emotion, or even a superior reason for winning. Mutsuki won that one with the power of mental breakdown.
You could say that the smile Mutsuki cracks when he says he’s going to buy time at the mention of Urie coming soon is Mutsuki deciding to fight for the rest of the Q’s, and to reunite with them again but he spends the rest of the fight clearly lashing out and using Seidou as a transferable target to receive that punishment. Seidou is both a ghoul and a man, both of which have hurt Mutsuki in the past, though Seidou specifically never hurt Mutsuki at all. Yet, we can see in the specific way he takes Seidou down he’s not really fighting for a superior purpose just venting his frustration.
If anything it’s karma for what Seidou did to the investigators during the Auction raid. None of them were specifically responsible for the torture that happened to him, even though the entirety of the CCG turned its back on him, but he used the to vent his frustration violently anyway. Now when Seidou’s not lashing out, but merely fighting for survival he’s being used the same way by Mutsuki.
Considering the specific way Mutsuki takes him down and what he does to Akira afterwards though, it’d be straight up reading the fight wrong to say Mutsuki has a superior reason for fighting then just “He’s a ghoul, it’s okay to kill ghouls, I want to vent my frustrations by being violent and killing things, but only things that are okay to kill because I’ve been told it’s okay to kill ghouls.”
So my underlying point with this explanation is that emotion alone really isn’t enough to gain a clean victory. Like, Yomo did indeed win that fight but it’s not the result he wanted, it’s a pyrrhic victory because he didn’t get through to his friend. Uta still feels lonely after going through all that trouble.
Honestly I doubt the fight is going to end there, because we’ve seen Uta throw pretty much every single fight he’s been in during Tokyo Ghoul.
Is this what Yomo really wants though? To grow up and rid himself of his childhood friends in Uta and Itori? I’ve always said though that the conflict between Uta and Yomo is a two way one, because Uta makes himself impossible to be understood, but at the same time Yomo doesn’t really push him at all or even try to understand him until his back is against a wall.
So like, all the things that Itori said Yomo fights for. Why does Yomo fight for them? Does he really believe that the future Ken will bring will be better for him? Does he feel content knowing he won’t lose anymore things if he puts his faith in Ken? Does he know that Ken doens’t really care about human and ghoul cohabitation but decides to fight for him anyway because he believes Ken’s good nature will triumph eventually? Does he trust that Ken is a strong person because he’s been observing him all this time and wants to support him when he’s finally standing on his own? Does he think this is the only choice after witnessing ghouls being driven to near extinction? Does he see the family that Touka will create as a second chance at his sister’s children reaching a happy ending and therefore his hope being realized?
We really don’t know why, because Yomo doesn’t think about why. He fights to protect without really thinking of the circumstances he’s fighting in and thus he gets dragged from fight to fight to fight.
This is pretty much directly what Uta accuses Yomo of doing in their brief confrontation, Uta says Yomo is merely fighting against the concept of loss.
That because of that, the cycle will repeat again and again. He’ll either lose himself, or he’ll lose someone important to him and learn a lesson from it, but the cycle will never end because Yomo only ever sees his life in terms of loss.
Remember his failure to assert himself is a character flaw of Yomo’s, he still hasn’t onscreen told Touka or Ayato that he’s their uncle because he’s terrified of trying to influence others due to his own lack of confidence.
So yes, Yomo does have a better reason for fighting Itori and Uta, but exactly why is it better? Even if you’re saying that Yomo’s fighting for his friends, he’s specifically fighting against two friends to fight for other friends newer friends he’s made. Except those two were the ones who saved his life. When Goat pretty much gave him up for dead and didn’t bother looking for him.
That’s not an aimed dig at goat per se, just asking questions that need to be asked. Of course they have a reason for fighting that’s better than just empty nihilism, but none of the characters really can understand their reason yet for fighting because they don’t really think about it.
Yomo even shouts it like seven times this whole fight “I don’t understand, I don’t understand, I don’t understand.”
So yeah, Yomo said a cool one liner and scored a significant hit against Uta, but what good did it do him? It’s a victory earned without understanding. If he’s not careful than Uta will just become another one of Yomo’s losses and the cycle surrounding him will remain unbroken. And that’s not what Yomo wants, he wants the fighting to stop not to win the fight.
So in other words, a victory achieved through violence without understanding isn’t going to really help either Yomo or Uta develop at all.
Hey! ^^ I think real Ciel was talking to Sebastian when he said these words because he was addressing him before in that scene:
But maybe he really didn’t mean that he ate his soul but rather what happened to the ring, especially since there’s a focus on the ring after real Ciel said these words.
We know that the ring seems really important to the twin. It could calm him down when he was a kid after being so desperate about our Ciel’s plans for his future; he held on to the ring during their whole captivity and swallowed it so no one could get it; and the first message he left for our Ciel when he returned was about the ring, as well:
So maybe the fact that Sebastian and our Ciel got the ring out of real Ciel’s body enrages the twin even more than Sebastian eating his soul. Or at least he may not only talk about his soul but also about the ring when he says “How dare you do that to me that day”. So the twin could have probably meant both – our Ciel and Sebastian – but I think he rather meant to address Sebastian in that scene.
Ciel: You’re so embarrassing
Lizzy: Let go of my hand then
Ciel: No
Eden: I’m a big softie for courting headcanons. Anon, I would die for you.
Head over heels for the woman who had practically handed him his own defeat on a silver platter, Alexis knew at that moment that he would be unable to get over his love for her. Having met in his penultimate year at Weston, he was determined to be granted her hand in marriage.
To hell with all the courting rules! Books, confectionery and flowers couldn’t ever be an adequate gift that could express his love for Francis. Why, the notion of just giving her fruit seemed ridiculous. Of course… he was an avid gardener at the time and would’ve loved to gift her the ‘fruits of his labour’.
There was only one of the typical courtship gifts that Alexis had up his sleeve. Sheet music. For hours he would force the other students to sit down with him and help him compose a piece – “something that encapsulates the spirit of a ferocious woman. A goddess!” – to which everyone was absolutely terrified of. Who knew a woman could turn Alexis into even more of a wet blanket than he already was.
Vincent caught wind of all of this. He wasn’t a very happy big brother when he heard that Alexis had the audacity to try for his sister’s hand. Vincent already graduated and a month into his time at Oxford stormed back into Weston with an hour’s worth of lecture time.
Of course, the to-be-Head of the British Knights and the Guard Dog of the Queen at each other’s throats was terrifying for every poor soul that just so happened to be in the library at the time.
Francis on the other hand, had already gotten wind of what was happening. A friend of hers, someone in the Green House had told their sister – and gossip spreads fast in the network of upper class ladies. A song wouldn’t be enough to capture her heart, she thought. Though, he wouldn’t have liked to have frivolous jewellery or clothing either, that would just be bribery. The head of the family, her brother…. just had to deal with the fact that she was old enough to decide her husband herself.
Alexis was the only one who had dared to challenge her for her love. Too many men had come and gone. Too weak to last more than two minutes on the piste. Alexis managed two and a half, but it still wasn’t good enough for someone of his ranking. But, she had to admit that his dedication and approach to chivalry was far more admirable than brute strength.
They’d meet on nights of balls or dances. A lady wasn’t allowed to meet with another man without the company of a man so Francis always had Vincent dragging onto the edge of her skirt – adamant that he couldn’t give up his little sister to him. Of course he respected Alexis as a man – he’d seen him in college give his absolute heart into everything. He just wasn’t very comfortable with the fact that Francis was holding her fan in her right hand as she eyed Alexis carefully making his way towards them.
Francis didn’t fall in love with the amount of musical movements that Alexis wrote for her. His patience and dedication, as well as his integrity as a man – all of that she adored. Alexis was a close to a perfect man as she could get. After more than a year of courting, the marriage was finally approved by Vincent and the two married in Westminster Abbey, as per their family names allowing them.
As a sidenote: I really would like to see us think more critically about the argument that fandoms as a whole relate less to female characters because female characters are almost always worse written than male characters.
I will never argue that there isn’t bad writing for female characters in our media, however:
I submit for your consideration that we are also conditioned to be far more forgiving of bad writing for male characters.
In fandom at large, we are far more willing to do the legwork to “fix” poorly-written male characters–to fill in the gaps in their arcs, to write in miles on miles of backstory where canon gives us none, to headcanon fathoms of hidden depth where canon does not supply it. Hell, we do this for well-written characters! It doesn’t even have to be about fixing anything. Whatever canon supplies us, fandom is sure to add just as much of their own and then some.
But not for women. Female characters, rather than getting this kind of treatment from fandom, are more likely to be ignored and dismissed entirely. It’s not simply that their writing is weaker. It’s that they aren’t considered worth the effort of further exploration.
But the fanon that adds depth and nuance to male characters becomes so widely-accepted, so axiomatic that often it feels like those characters must be better-written that they actually are. That they must be deeper, more complex, better developed. We don’t recognize how much of that depth and complexity is of our own making. We aren’t taking credit for our own work.
And in fandoms where there is a lot of communication between creators and fans (which, these days, is basically every fandom thanks to social media), I’d argue that this can have a reflexive effect. Creators note which characters get the most discussion and fan attention, and are therefore more likely to give those characters further development in the source material. So if you actually feel that creator neglect of female characters is a problem, ignoring or dismissing those characters in fan activity is the opposite of a solution.
I would also argue that the prevalence of this argument has a really deleterious effect on the corners of fandom that do enjoy focusing on female characters and their relationships. By dismissing female characters as “badly-written” and therefore not worthy of the interest and exploration and transformation that is widely considered fandom’s very purpose, we also dismiss the fans who do want to put the legwork into finding depth in those characters. We dismiss the women who relate to female characters more, and we dismiss their genuine love and passion for these characters as a chore rather than a joy–and that is, frankly, a little insulting.
I’m glad to see these things being discussed, but I am continually disappointed to see this argument repeated uncritically. I don’t think it presents a particularly accurate or illuminating picture of the situation and I don’t think it’s terribly helpful.
Hey, so you guys remember the OEK from 100 years ago? We saw both the ghoul and his kakuja form thanks to Matsuri in ch151:
And thanks to Ayato, we also saw the results of the Nagaraj’s rampage in ch131, almost 100 years after the crisis happened:
However, I have to ask: what happened to its kakuja head (the thing in red)? If you look where the kakuja is climbing up in the backgroud, it’s almost as if it was beheaded somehow???
And now thanks to the latest chapters we’ve got this:
Uta’s kakuja doesn’t have a head/face either (it’s just a huge mouth?).
I mean, maybe it’s a coincidence (and Uta’s nickname only refers to the fact he can shape-shift), but anyone remembers what they did to the Nagaraj’s eyes?
midnight-in-town 