Gosh, not only did I just notice this, but I find that the words of both Itori and Nico, who are the only two Clowns we didn’t see fighting this time, are particularly meaningful to the parallel between the other Clowns.
Assuming Editor-san’s line is actually relevant this time, I’m just super excited about the prospect of knowing more for different reasons.
First of all, the one who founded the Clowns was Roma, but she also said that…
…the others might not know it was her. Whether she meant Itori, Uta, Nico, Donato and Furuta or small fries who joined the gang, that’s not certain. As a side note, the “grand party” she’s talking about might be referring to the conflict between the second OEG of the timeline and V, since we know Roma ended up being defeated by Tsuneyoshi in his youth.
Anyway, if the others really don’t know Roma was the founder though, then it may mean that…
the reason they all ended up joining is not necessarily closely related to Roma’s own reasons for founding the gang (which mainly was fearing getting bored), which is logical if Roma actually was the youngest out of them all (not counting Furuta) and even if Itori’s description of the Clowns does encompass Roma too.
Secondly, in the new chapter, Donato said this…
… just before Itori rambled about their group while watching Yomo and Uta fight, and precisely as Kaneki was meeting with Furuta.
In other words, it’s a perfect lineup to understand what’s exactly linking all of the remaining Clowns and why they finally decided to step forward onto the stage after (what was implied to be) so many years of staying in the background and pretending to be the audience.
In fact, we even got a little hint a while ago that the Clowns had some sort of leading figure who had a plan about Kaneki, thanks to Uta:
And while I’m aware that Uta is a real troll and taking him seriously shouldn’t happen, at the same time, it still makes sense for Uta to have been talking about Furuta in ch31.5.
After all, the Clowns are currently playing for time for Furuta, they helped him overthrow the main Washuu family, they followed his directions during the Clowns’ raid arc, etc, and besides, Roma also said this in ch135:
…which is a direct throwback to the current arc, since Furuta purposely recreated a situation (using Kaneki amongst others) that paralleled what had happened with the Nagaraj 100 years ago because he seemed to have been seeking the same results.
In other words, either the “raison d’être” of the Clowns is directly linked to Furuta’s goal of “super peace” or, more simply, Furuta offered them a way to “keep cracking jokes on stage so that they wouldn’t go crazy”, which is why they’re helping him.
Personally
I’d rather buy the latter than the former, even if we’ll see next week, because Uta expressed that he didn’t understand “his boss”
more than once…
…which would mean that he probably doesn’t understand the finality of his goal either, so whether there is “super peace” or not, Uta literally doesn’t care.
Then again it’s logical, since we already know why Uta is in it thanks to ch116 (”I’ve always been quite the reprobate and that’s why I want to stay in the thick of it. Because it’s lonely on the edges”). That’s why he can still refer to Kaneki as a “special customer” and kinda root for him, even if he’s currently helping with Furuta’s plan, because ultimately he’s only after fun.
Same for Roma, which is another example making me think that Furuta simply gave the Clowns a reason to look forward cracking more jokes on stage to avoid going crazy because…
and mostly, we know that if “super peace” is really about Furuta turning humans into ghouls, well, Roma would also give 0 fuck about it:
I’d also say same for Nico for similar reasons as Roma:
because “a society with ghouls at the very center” (Aogiri’s goals) looks to be what Furuta is after as well (if you forget that the toxin in higher rate is also dangerous to ghouls).
For Itori and Donato, it’s slightly trickier. Donato denied being the same as Uta in ch116, because he’s not “as sentimental” as him, while also having a past that’s made of constantly being deprived of what he held dear:
…so whether he’s like the others (cracking jokes to avoid going crazy) or truly looking forward to “super peace” (like V, I guess?) is not so evident, at least to me. Whichever allows him to get “another place of tranquility”, maybe?
Finally, about Itori, she’s a complex one too, but I wouldn’t be surprised if what she said about the Clowns was literally the last shield she had to herself:
…which would mean that every joke is really nothing but a way to counter going crazy out of being tired of despairing. After all, there always seemed to be an existing contrast in her words and attitude, as if to imply that she isn’t sure where she stands:
using Kaneki as a toy to get info vs still giving him genuine heartfelt advice;
calling the Clowns “the ones who’d watch this play come to an end from the box seats” vs “the ones cracking jokes on stage to avoid going crazy”;
having a mask that’s hinting at a strong/deadly/rampaging ghoul when she was never ever seen fighting (and doesn’t even seem to enjoy it?)
TL;DR the Clowns all have sad backstories, that’s for sure, so when it comes to how their (personal or collective) “raison d’être” aligns with Furuta’s plans, it may not be with Furuta’s goal of “super peace” directly (rather I think that’s V, except maybe for Donato, tho’ I’m not sure), but because he’s providing them with more occasions to seek what they enjoy or feel so lonely about.
Sorry for rambling,
keep in mind that it’s just my take on it and for all I know it’s going to be wrong next week, but still
I hope it made sense. I’m just loving these chapters. xD
GUYS I’M SO MOVED, seriously I wanted this insight for years, because the veil has finally lifted and the truth came out!!
All the times we heard the Clowns talking about their group, it was always…
…as them pretending to be the audience, as if they were pulling the strings or observing the show rather than having any role on stage, but Itori literally dropped the mask and admitted otherwise.
They always belonged in that big play that is TG, just like everyone else. Obviously they would, since they all agree that it’s boring and lonely to remain on the side, it’s just that since it’s hard for them to find warmth along with the rest of the cast, they’d rather act as if they were the audience in the first place.
As for the “Clowns’ raison d’être” line for next week if Editor-san wasn’t pranked by Sensei, I’m 100% convinced that this has to do with what happened 100 years ago (or with the second OEG of the timeline & V), because Roma made a similar allusion just before dying…
So whatever the reason is that Itori said that she’s seen and heard too much to forget that this world would never accept them (implying she’s indeed an “old lady”), it’s probably leading us back to what started it all:
And actually it’s super funny when you consider how the chapter literally ended up with Uta going kakuja on us, I mean, it’s not like there aren’t some mysteries around his character at all.
Can I just be paranoid for 5 sec about the clothes pattern???
It reminds me of this, from when Itori told Kaneki about hybrids, in ch34:
Bonus: not a clown but…
Seidou’s clothes have the same pattern (and he’s also a proud OEG).
WAIT NEVER MIND, OF COURSE OWL!SEIDOU’S CLOTHES FIT THE PATTERN BECAUSE…
I want to know what’s up with those veins that appear from time to time… Are they Rc pathways…
or something else?
And if they’re Rc pathways, do they become visible when ghouls are exhausted and pushing themselves to their last resort for healing or fighting? Would make sense, but I’d just like some mention of this later, it’s interesting.
Power scaling basically went out the window when Urie defeated Roma, despite basically losing to Donato earlier in the exact same circumstances. Even though Roma’s technically a much much stronger ghoul.
You don’t need to reply to this with several reasons why Urie totally could have beaten Roma though and how it totally makes sense though because that’s not really the purpose.
This isn’t really a fighting manga where the power levels are meant to be cool. Every character that has sought strength as a part of their character arc has regretted it later. I think it’s important to remember that in those scenes the characters don’t accomplish what they wanted through physical strength. Urie’s goal wasn’t to defeat Roma, it was to save Kuroiwa, but Urie totally failed in that regard even after receiving a power up and while Kuroiwa was literally in his arms.
All Urie had to do was pay attention to his environment like Furuta warned him to and he failed in that regard.
Characters like Mutsuki, Urie and Kaneki who seek strength as a means of self improvement never succeed. That is kind of the point, Kaneki literally becomes the strongest ghoul in the whole of Tokyo and he still can’t accomplish his desire to protect everyone.
All of the problems we thought were holding Kaneki back before, his uncontrollable Kakuja, his suicidal nature holding him back, his lack of understanding on how to use the power of kagune, they’ve all been resolved at this point.Yet…
That’s why the next chapter went so far as to create a shonen tourmanet parody arc of this whole scene.
That is essentially the point of this whole scene Kaneki’s the strongest now so he should get what he wants and win, if that’s the conclusion you reach you’re reading the manga wrong. Yes, it would be nice if the power scaling was more consistent, but thematically it works to make the powers so ridiculous now because it makes a point that fighting itself is pointless.
The fact that no one side could handle the Dragon by their own is part of what establishes how pointless the fighting and trying to gain strength for the sake of protecting others on each side really was.
I think it’s also important to remember not only were Rize and Yamori strong but they were also people you did not want to be. What they did to get that power made them horrible people, but Kaneki failed to grasp that in the end because he only saw their power as a means of accomplishing what he wanted. In other words Kaneki needed to read more Medaka Box.
I think that a good chunk of us have some sort of routine in our lives. Do this one thing at that specif time, and this other thing at another time. Routines and having something familiar to do is a good way to keep life organized, and in order. However, if you just repeat the same things over and over again from day to day, you will likely get bored. You might crave a some change in you`r daily routine, something to make things more exciting.
Roma is something of an extreme case of this. When she was old enough to realize her surroundings, she found out that she was alone and had no parents. So she just wandered the streets, killing when she wanted to. Roma´s life from the early days seems to be just this. Wandering the streets, and killing humans and ghouls alike when she needed to. Her life was surrounded by death. That became her routine, and maybe that was all she had in the beginning. However, as I rambled about in the more daily example above, doing the same things over and over again will make you bored out of you`r mind in the end. And that is what happened to Roma, she got bored.
But then she discovered humans from the”society”, those weak, ugly, enjoyable things. Like small pathetic toys. Roma calls them “bread and circus”, give to her by the Gods. As a good chunk of you know, that phrase was created by Roman satirical poet Juvenal. I´ll quote a few lines to open up the term:
“Bread and circuses” (or bread and games; from Latin: panem et circenses) is metonymic for a superficial means of appeasement. In the case of politics, the phrase is used to describe the generation of public approval, not through exemplary or excellent public service or public policy, but through diversion; distraction; or the mere satisfaction of the immediate, shallow requirements of a populace,[1] as an offered “palliative”. Its originator, Juvenal, used the phrase to decry the selfishness of common people and their neglect of wider concerns.[2][3][4] The phrase also implies the erosion or ignorance of civic duty amongst the concerns of the commoner.
something, as extravagant entertainment, offered as an expedient means of pacifying discontent or diverting attention from a source of grievance.
The points I am going to focus on when it comes to this term are “diverting attention from a source of grievance” and “superficial means of appeasement”. I find these the most fitting in this scenario, since I think the weak, self centered and fragile humans were indeed a manner of “distraction” for Roma. Something fun and stimulating that diverted her gaze from the boredom she felt. The important word is superficial, since while a constant stimulus indeed keeps you occupied and makes things fun, it does not the cure the “core problem”. I think Roma was very hollow and empty. That is because she had no one in her youth, and all she knew was killing and death. Because of this she probably did not develop any sort care or attachment to the surrounding world. Maybe when Roma has nothing to do but just the boredom, this hollowness crept into her mind. As she says to Urie, when boredom takes over you start to question what is the point of even living.
So the foolish human were bread and circus, a superficial distraction from a empty and meaningless life which only knew death and loneliness.
This is also the core difference between Roma and Eto. While both had an rough youth, are very strong and etc…, in the end they are rather different. You see, Eto lost her parents but that was trough an act of injustice. This memory and the diary of her mother gave her an direction in life, and objective. To not be a coward and run like Kuzen did, but to change this warped birdcage. She lived in the violent 24th Ward, likely witnessing and going trough the struggles ghouls go trough when they live in a society that hunts them.
Roma had nothing like this. She had not drive, no objective, nothing. Everything around her was just death, so she likely never developed any sort of attachment or drive to change the world.
So while Eto, an revolutionary fueled by hatred seeks to change the world, Roma who´s life was devoid of meaning, seeks only stimulus that distracts her from meaningless world. A life without conflict and drama would be very boring in Roma´s eyes, so she does not want to change it. Instead she wants to be the audience who sits on the benches while watching a grand tragedy being played on the stage of life. And since she likely never learnt to care about the surrounding world to her, why Roma would want to want to change something in it.
Viewing the world as circus keeps you going in a world that has no meaning to you. Fun and stimulus distracts you from the emptiness of life, which has no purpose.
You know I love your post because, even though Roma founded an organization (one of the few still going strong in the series so far btw) for the reasons you pointed out, it’s just very interesting to me how the other Clowns were hinted to be different from her despite all sharing the same motto:
This really makes me wonder how different all their backstories are going to be: Roma was “Gypsy”, and as the founder she had precise reasons to create such a gang, so I love how the union between the remaining Clowns is still that notion of “seeking fun” that Roma thought of to make her boredom disappear.
The other Clowns probably didn’t feel hollow (or didn’t have the same reasons as Roma to feel hollow if they also did), but still, despite their probably different backstories, what remains is the notion of seeking the fun hidden within their respective goals. It’s like Roma’s personal touch as the founder, even if she never led them.
I don’t know, for me it’s part of the Clowns’ complexity as characters: they’re a weird group but that’s why I love them all. 😀
and how he’s covering his right eye, as if indicating that his only kakugan is on the left side?
Well, what if he was the second OEG of the timeline instead of the first?
The first OEG (the Nagaraj, the One Eyed Washuu) was this guy…
but as explained twice in the last two chapters, he apparently didn’t escape his Kakuja so he could be very old and trapped in the 24th ward.
Meanwhile, Kaneki in ch121 and Nishiki told us in ch128 about a second OEG who threatened the CCG and led to V’s creation…
…and as you can see, his left eye is emphasized on. So what if the Uta we know is the second OEG who “was a hero of ghouls who led the CCG to destruction”?
As to whom he would be to have a Washuu kakuhou (special kakuhou with cloning abilities?) and look like the One Eyed Washuu…
how about a rare hybrid (i.e natural OEG, like Eto) born in the sunlit garden?
Uta being responsible for V’s creation because he raised havoc around 50 years ago would also explain this:
since Roma was sent to prison basically around 20 years ago (and they apparently knew each other from before) and since she said that she knew the “king of the underground”.
For the record though, at this point, this title might refer to either of these two OEGs, since both were apparently driven underground:
…And in fact, Matsuri wouldn’t be against doing the same to Kaneki:
Finally, Uta being the second OEG would even go with @kingkishou‘s theory that Uta somehow passed on the OEK title to Arima at the time of the Clowns’ annihilation and it also allows me to introduce one of my untold crack theories…
…which is that the reason Uta is the only one who kept his mask on during ch98 was because he didn’t want to be recognized by Kaiko from V (since V defeated him 50~ years ago).
TL;DR Uta is probably a (natural) OEG if just because…
…and several birthday arts that imply he only has one Kakugan.
However, considering that the One Eyed Washuu’s kakugan was on the right side while Uta’s might be on the left (+ he doesn’t have mole), maybe Uta is another OEG from the Washuu family, except that he came into the picture half a century after the first one.
In other words he’s the OEG Nishiki talked about in ch128.