Ishida has been emphasising on this guy the last two chapters.
The person sitting behind Banjou and Ayato. He even has a speech bubble.
The person that saved Ayato.
His number is 33 which is funny because:
Mirumo’s number at the Auction was 33.
Tsukiyama’s birthday is on March 3.
Tsukiyama and Banjou used to be friends so it wouldn’t be that far-fetched to think that they are working together now. And Shuu would definitely want to save Hinami because he liked her.
Don’t tell me that Tsukiyama is working under Banjou… because that would be… the funniest thing ever.
The"Arima’s going blind" theory would be even more ironic given that Hakushuu– the author of the poem kaneki recited to Arima and the first book Arima gave to Haise in cochlea– went almost completely blind towards the end of his life.
I just realized something, the reason Haise kept bringing Hinami books was because that’s what Arima did to help him when he was locked up and freaking out T~T
Auto-enucleation (oedipism) and other forms of serious self-inflicted eye injury are an extremely rare form of severe self-harm that usually results from mental illnesses involving acute psychosis. The name comes from Oedipus of Greek mythology, who gouged out his own eyes.
Oedipus gauged out his own eyes finally at the realization of his deeds, a last ditch effort at denial, at not having to see the reality around him. As he did so, he uttered the words.
Oedipus: I am agony.
Words that resonate with Kaneki well.
I’ve pointed out before Kaneki’s character has built in allusions to the Oedipus Myth, but this is as close to a direct reference as you can possibly get.
Kaneki’s reason for doing so even seems to match Oedipus. A horrible reality he can no longer face, at the end point of his tragedy now that the truth has been revealed and he failed to protect his friends he can only look away for it has become too much for him.
Messenger 2:
When Oedipus saw her, with a dreadful groan he took her body from the noose in which she hung, and then, 1510 when the poor woman was lying on the ground— what happened next was a horrific sight— from her clothes he ripped the golden brooches she wore as ornaments, raised them high, and drove them deep into his eyeballs, [1270] crying as he did so: “You will no longer see all those atrocious things I suffered, the dreadful things I did! No. You have seen what you never should have looked upon, and what I wished to know you did not see. 1520 So now and for all future time be dark!”
The question is why make such an obvious Oedipus reference at this point in time, now that Kaneki’s memories have already been recovered and the truth revealed. It has something to do with the other character who occupied that flashback.
In the myth of Oedipus, Oedipus kills his father and marries his mother. What makes this particular plot thread compelling is that he didn’t want to do either did, but still committed both unknowingly. He was led on by fate rather than his own desires, but still had to suffer the consequences in the end. And here too, Kaneki is compulsed in his actions not by his own desires, but by fate.
Kaneki’s reason for his flash back then,is probably deceptively mentioned with another character from a few chapters ago.
Kaneki is remembering his one good memory of Arima, and it’s a way of expressing his reluctance for what he is about to commit himself to doing.
Before Oedipus became King, he had to kill his father Laius the current king. At this moment Kaneki is committing himself to fulfill the Oedipal prophecy that surrounds his character by killing the only significant father figure he’s had in his life. He does so with regret though, because it’s not as if he wants to. Rather, he’s compelled, by fate, by the culmination of all of his decisions up until this point, call it what you will.
Also I think it’s important to mention as an aside. The reason Kaneki’s ‘tragedy’ takes so many cues from Oedipus is because Oedipus was considered by Aristotle, who wrote the influential ‘Poetics’ elaborating on the structure and makings of a tragedy, to be the perfect tragedy.
(also, I love the floral pattern in the corner of this panel. Shojo Matsuri!)
I’ve made a post about The Chariot before, in regard to the 7 that shows up on gas mask 86 [x] and it probably means much the same thing here.
It’s a pretty generic tarot to show up at the start of a battle on a commanding figure of that battle, really.
The Chariot is a very Washuu Matsuri card to begin with. It depicts a “princely figure” riding into battle with two sphinxes that are black and white themed – a very Washuu/V color scheme.
It symbolizes determination, strength, control, will power, and decision making. All very Washuu Matsuri things.
It’s also a good omen going into battle, as it can symbolize victory. But it can also just symbolize putting ones all into something or going ahead with all of ones effort and making a firm decision. Tarot is vague like that.
So this could symbolize a win for the CCG, for Matsuri, or for the Quinx squad he is commanding in the picture, or it could simply be a character marker. It’s hard to say.
It doesn’t seem to be marking a possible struggle for Matsuri, but again, Tarot being as vague as it is, and Ishida’s use of tarot numbers being as vague as it is, some other readings of it might be that we are looking at a battle of wills in the near future. I looked for a 7 on Urie, but couldn’t find one, and Yoshitoki doesn’t appear in the chapter, but I imagine that is a possibility as to where we might be headed, as The Chariot is about sticking to your guns as well, and we know that Matsuri can sure be stubborn. So if it’s predicting conflict, that might be it.
We do appear to possibly have two 7′s in play – one marking either Eto or Ayato and Banjou and the other on Matsuri – which would be one 7 on each front of this battle. So one possible reading of these would be a predictor of the victors of the two fronts. But I’d be very, very hesitant to read something like that into these tarot numbers.
The other possibility is by placing two 7s in play, one on each front, we are meant to read them both even more generally. That these upcoming battles should both be viewed with The Chariot in mind – that these are battles that will determine something. They are defining battles and will control major outcomes.
I don’t know. I’m not really in the business of interpreting the tarot numbers. Remember, Takizawa was marked with The Devil for all of TG and all it was was very vague foreshadowing for his transformation in TG:Re. Personally, I’m more interested in Suzuya’s XX and what that means for the CCG as a whole and his character in particular…
Arima’s bookshelf gradually emptied, a mind gradually grew more sound.
A parent comforts a newborn baby who cries through the night by giving them warm milk to calm them. You comfort a newborn confused and fearful young adult who has nightmares and cries through the night with knowledge through books.
I think the thing about Furuta’s break down after Eto called
him out on being fatherless, was a lot less funny than people made it out to
be. At first, I thought that Eto and Furuta were alike in a sense that their
parents weren’t there for them, or in a sense that their parents “abandoned”
them, and in that sense, I guess Eto had to right to pull that card.
But their situations, as far as tragedy and lack of love and
parent hood are different.
Here we have Eto who had parents who loved her. Her mother
practically gave up her humanity for her, and even though her father gave her
away, she was still given to someone trust worthy, and at the same time, her
father spied on her, made sure she was safe and even made it so that the CCG went
after him instead of her. All the while, she was practically a millionaire at
age 14. Compared to most people in TG, her life isn’t tragic at all.
At the same time, while I’d like to think early on that
Furuta shared a similar life to Eto—he didn’t. No his was worse. To be born for
the sole sake of being a weapon, to know you have a living parent that
practically discarded you, but to have to work under said parent and watch them
raise a family happily while you’re living a shit life (I can relate to Furuta
partially). At the same time, you’re a nobody in many people’s eyes and in
order to be a “somebody” you savage whatever identity you can until you make a
name for yourself and not a really good one. And speaking of names, you weren’t
loved enough to even be given a real name, and through all of this, you’re
still alone.
In a sense, Furuta and Eto aren’t a like—no they aren’t
alike at all.
And I can just be being biased because I don’t like Eto, but
Eto’s life is considerably easier and a lot less tragic that Furuta’s. From
birth, Eto was loved and looked after and cared for—yet she still decided to go
down a route which required her discarding those she loved and cared for her (Noro
and her dad) just so she can get power. And even know, she’s being treated considerably
better than the other prisoners.
I’ve been looking at this picture, and there are a few things that I thought I should point out
the first is the obvious 3 hidden on Tsukiyama’s collar. 3 is associated with growth, creativity, and friendship. It is also the Tarot card The Empress, which has been associated with Hinami, (coincidence that there’s a jailbreak for Hinami coming up in the manga? I think not). 3 is also closely connected with the illuminati
Also note the blue thing in Tsukiyama’s hand. The color is definitely significant, with how bright it is and how it’s in the center of the piece. Why blue? Because Tsukiyama is sad. This represents that he is very lonely and broken, and he’s not going to let go of that sadness soon, judging by the firm grip he has on it.
Lastly and most importantly is his hair
It looks a little odd, doesn’t it?
Ishida is quite obviously showing us that Tsukiyama is a member of V.
Relatable FE Quote or Something 