Chapter 142: Lament

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Pg 1: Yomo walks the sewers after his fight with Mutsuki and Aura. A man speaks to Yomo as he walks, The man who stands before Yomo tells him that if he continues forward then he will lose his life. Yomo repiles that it is the reason that he is doing it. (The man may be Uta wearing a mask, it is unclear who it is at this time).

Pg 2: Text is repeated multiple times that states that Irimi, Koma and others were part of the communicating squad in charge of connecting the food squad and the standby squad. Many individuals are shown slain. The scene changes to Nishio in the forest, asking Tsukiyama what he thinks. Tsukiyama says that he was just doing his job. It begins to rain and Nishio comments that he hates it.

Pg 3: Rain is shown falling over Tokyo. Hinami falls to her knees.

Pg 4: Hinami thinks of Kaneki asking her what she is reading. In the present Touka faces Juuzou. He swipes at her and asks her if they’ve met. Touka activates her kagune and responds “who knows”.

Pg 5: Touka launches kagune projectiles at Juuzou and he swings his quinque to block them. He approaches Touka and Hinami strikes at him from behind with her kagune. Juuzou turns towards her and comments that he is surprised that she is still standing.

Pg 7: Hinami allows her kagune to mutate and spread wider, creating a massive kagune. She thinks of Kaneki right after he was rescued from Aogiri in chapter 79 of the original TG. Kaneki decided that he was not going to return to Anteiku and the others leave him. Hinami turned back to look at him (note that the translation on this page below is slightly different than what Jamini box had which is why the pages aren’t exactly the same).

Pg 7: Hinami launches a strong attack against the men and they call her a devil. Juuzou blocks her attack with his quinque.

Pg 8: Hinami turns towards Touka and tells her that she needs to protect the ghoul children.

Pg 9: Touka turns and runs away. Hinami thinks that “it” was her fault because she showed Kaneki the moment when her mom died. Flashback to Kaneki and Hinami when Hinami’s mother was killed by Mado.

Pg 10: Hinami wonders what Kaneki saw at that moment. She thinks that little by little after that moment he began to change. Hinami extends her kagune in a great attack. Juuzou tells Hanbee to use his Silver Skull (his quinque).

Pg 11: Hinami’s kagune is met with sudden attacks. Hanbee circles around her and slices her.

Pg 12: Hinami’s leg is cut off and she collapses. Juuzou asks her if she is still going to stand. She says that she will and unleashes her kagune again.

Pg 13: Hinami strikes her kagune into the wall. She thinks that she wants Touka to be happy. She thinks that it’s easy to be unhappy so instead she wishes that Touka will live.

Pg 14: Hinami wants Touka to remember her so she means something. Hinami thinks that she wanted to be like Touka but she never told anyone that.

Pg 15: Hinami thinks of Kaneki and wonders if he thought she became beautiful. She wonders if she had become strong enough to stand by his side. Hinami falls.

Pg 16: Juuzou strikes Hinami at close range with his kagune.

Pg 17: Hinami and Juuzou are surrounded by a large kagune. Furuta wonders who it belongs to and then says “V”. A kagune reaches behind Hinami to catch her. Hinami wonders if it is Kaneki. Kaneki is shown missing from the food provisions squad.


So, who was the most difficult character to portray? Which do you consider your most challenging role to date?

Azmi: You know, the one person that I was really surprised to discover in myself was Jamini, the character I played in Mrinal Sen’s Khandar. To find Jamini, I had to go deep inside the recesses of my own being and, when I did, I was actually startled to discover that she actually existed.

How do you get in touch with someone who you think exists within you? How do you isolate this person? Is there a process?

Azmi: The first time you hear a story is very important—whether it is narrated in three lines or as an entire script. The first narration is very important for me for something clicks during that time. Mrinalda narrated the story to me in five lines— and something pulled me to that character and I said, “Yes, this could be challenging”. What happened is that Khandar came immediately after Mandi. And for Mandi, I had put on weight and was very gregarious on the sets and it was one big jhamela…and in three weeks I was reporting for Khandar, set in these ruins in Shanti Niketan. And very subconsciously—it is only in retrospect that I am able to understand this—I decided that I was going to be by myself; no make-up man, no hairdresser, no nothing, just my books and my music. It was as though I had decided to withdraw from life’s experiences. For with Mandi I had expanded the barriers of my own persona and I had to find the quiet, tragic but dignified Jamini from somewhere within. So it was a very reserved Shabana on those sets. Looking back, I realize that it also had to do with the ruins. You know, they do something to you. You really get affected by your environment.

Ameen Merchant with Shabana Azmi (Rungh, Film & Video Issue II)

anonymous asked:

This has probably been made obvious before because of the latest chapter, but just so to avoid any confusion, what is Ui's real intentions and what he said about him aggreing?? Did he aggree to Take or Hajime?

It’s fine Anon, not everything in the story is completely obvious. I don’t mind answering questions like this at all. I totally miss out on completely obvious details all the time and I’ve reread tokyo ghoul like five times. 

Jaminis box and mangastream have almost wildly different translations on this one, so take what I’m about to say with a grain of salt I suppose.

Basically what Hajime is questioning here is how Take can stand there with a completely blank face and not say anything as he’s betraying the CCG. Remember, Hajime was about as much of a CCG loyalist as Amon. He completely buys into the belief that ghouls are horrible monsters that need to be destroyed. Therefore he stops and questions for a moment, how Take is about to come out on the side of ghouls, but do absolutely nothing to justify himself. 

I mean, I might be reading slightly into this but he questions “Do you realize what you’re about to do?” That’s probably in reference to the fact that Take a former CCG officer is now about to risk his life potentially in the defense of ghouls. 

The specific details about what Hajime is asking about though is not really as important as the motive behind it. The reason he’s asking so many questions and running his mouth is that he’s trying to provoke a reaction out of Take. “Why don’t you say something?” and “You look pretty funny with that blank stare of yours” both of those are lines that indicate that Hajime does not understand Take’s motive at all in what he’s about to do. Not only that, but Take is giving nothing away himself and making himself impossible to understand as well because of his own insistence on keeping his silent, stoic, attitude the same as ever. This is a running theme with Take, he’s implied to have a lot more going on in his head but always dismisses himself as not being important, relevant or special. He’s essentially a guy that looks like villager #2, but nobody is really a random bystander as much as they seem that way.

Anyway, even if Take did explain himself it would probably be lost on Hajime in the moment. He’s far too radicalized at this point to accept anything other than wholesale slaughter. However, that is exactly why Ui stepped onto the scene.

What Ui agrees with here essentially, is what Hajime was rattling off in an attempt to provoke a reaction from Take. Hajime can’t understand Take at all, and Take doesn’t help to explain himself by always having that blank expression on his face. That’s the part Ui agrees with, but rather than a child running their mouth for Ui it is more personal. Remember from Ui’s perspective Take who is the closest person that Ui has to a best friend (His four hobbies are, horsies alone, scrapbooking alone, karaoke alone, and drinking with Take), decided to one day betray and kill Arima their shared mentor, and then leave the CCG to join the side of ghouls their enemy. Not only did he do that, but he id not even bother to explain to anybody, Ui included why he would ever try to do something like that.

In a way Ui is double burned by the betrayal. Not only did Ui suddenly lose his mentor and his best (work) friend in the same blow, but also that friend betrayed all of their ideals without even bothering to trust Ui and attempt to explain himself. Not only can he not believe his loss, Ui can’t even understand why this happened.

Kuramoto even brings this up to Ui himself, and even though Ui dismisses it considering the fact that he cried about two seconds later it’s probably true that he agrees. Not only has he lost two important people, but the remaining ones do not even trust him enough or value him enough to keep him in the loop or try to explain their actions. 

Kuramoto even says beforehand, Take is inscrutable but he had to have his reasons for his own actions right? He had to care about us? For Ui though, the thought that Take did care but chose to take those actions anyway was too much for him to handle. The loss of those people was too great, so much so that even though Haise and Take are still alive and there was still a chance for Ui to have reached them it’s easier to just come down hard and say that their intentions didn’t matter. That there was no reason for their actions, and to only look at the actions themselves. 

Of course Ui is not right for choosing to mow down ghouls left and right in response to his own sense of betrayal and abandonment at being left behind by all the people in his life. 

However, there is a clear breakdown of communication here and Take plays a role in it. Perhaps part of the reason that Take didn’t explain himself is because he couldn’t, it’s what Arima observed of him.

Take avoids thinking critically too much about himself or his own actions, even when he’s placed specifically in a role where he should, being the lieutenant of a rebellion of ideals after all. His only justification for himself so far is that I’m doing what Arima told me to do because I thought it would please him. 

However, Ui likely is operating on that same logic. The flaw is of course that Ui was not let into what Arima truly wanted, he was not trusted with that information. Thus he can only follow what he thought it was that Arima wanted, which means sticking with the CCG. 

In a way both men are following the two sides of Arima’s legacy. Take follows the rebellious one eyed king who betrayed the CCG to give hope to ghouls, but also to the half ghoul children of the Washuu, while Ui follows the CCG’s reaper whose nonstop slaughter of ghouls inspired fellow CCG officers. 

What partially causes Ui’s choice though, is that he does not know. The reason he does not know is Take never bothered to explain himself. He’s let in on all of these secrets such as the Garden and Arima’s true purpose, but rather than acting for himself in the way he thinks best for this information as Arima probably intended when he left Take in charge, Take still acts eternally as the subordinate who has no choice but to follow his master’s orders. 

What Ui is agreeing with is the fact that Take is inscrutable, that his face gives away no reasoning as to how he could possibly justify the betrayal he’s done. Ui cannot understand Take at all. However, at the same time Take never really trusted Ui or tried to help Ui understand him.So we have a breakdown in communication that comes from the flaws of both boys present. Ui does not want to face his grief, and Take does not want to give up his own habit of downplaying himself, or even try to explain his own reasoning for doing things. Therefore, Take vs Ui was always destined to happen as a conflict and something that is probably going to result in a major change for both Take and Ui at the end of this conflict. 

Uhhhh…this kind of just happened? But boy, does it feel good to write for these two lovebirds again! ; u ; For those of you who are new to the Wreck-It Ralph fandom or the Hero’s Cuties ship, this is an AU set in the real world where Felix and Sergeant Calhoun are actual people and not video game characters. I’ve written a bunch of drabbles at various points in their relationship (which you can find under this tag), but this one takes place shortly after their first meeting. So without further ado…

The light coming from the outside lamps and the illuminated windows above shine down on her like she’s an angel. In Felix’s eyes, she’s always been one.

Keep reading

A holder of chains - A different take on the Reaper

Hmm, I am not sure if I understood fully what Koori meant with these two lines:

but I am still going to try. 

if we take into consideration that he thought that Furuta, as this sort of Reaper is a God, then we have a rather different type of view on the “Reaper” than we had before. In the past people like Arima were shown as the Reaper because he took lives, he killed many ghouls and was thus called  The Reaper of CCG because of that. In here the Reaper seems to be something different. Koori sees Furuta as  Reaper who holds “the dead” in chains, under his command. Okihira is in these chains, as well as Hairu and etc..If you want to Reaper to release it`s chains over the dead, you better pray to him. Jamini´s Box version of this is a bit better worded in my opinion, and I think it gets this idea across better. There Koori says:

 “Okahira….his life is restrained. Wrapped tight by the chains of the Reaper. But still…If the Reaper is the only God out there then I`ll cling onto it.”

So Ui sees Furuta as a Reaper who instead of claiming lives, holds the dead tightly in his hands. He rules over the dead, I guess you could say. 


The National Gallery of Modern Art is the premier art gallery under Ministry of Culture, Government of India. The main museum at Jaipur House in New Delhi was established on March 29, 1954 by the Government of India, with subsequent branches at Mumbai and Bangalore. Its collection of more than 14,000 works includes works by Indian and foreign artists such as Raja Ravi Verma, Rabindranath Tagore, Jamini Roy and Amrita Sher-Gil. Some of the oldest works preserved here date back to 1857.

(Rajpath, Delhi)