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- –Ahí está Tomoko... Dice Kuro desde la espalda de Yuu Naruse. Ella tiene que ver de nuevo para identificarla y deja que Kuro mueva la prótesis derecha para que la señale. Lo primero que nota de ella es el brillo de su medalla y luego la bandana en la frente. Por fin la ve sonreír al salir de esa escuela, pero nota en su hija una altivez que a Walter le trajo muchos pleitos cuando era aún más joven. –Jeje... igualita a tu padre... –Lo notaste... holi Kuro. –Hola, Moko chan. Yuu deja que Kuro salude a la adolescente que apenas cursa la escuela secundaria. La mujer siempre resalta por el androide atado a su espalda, cuyos brazos alargados le sirven de prótesis para las dos manos que perdió durante la liberación de Chiba. Es una modificación cruda, fea y eficiente, que Isamu Kuroki le hizo una tarde en que las visitó. Siempre se siente observada al portar esa especie de parásito simbiótico, que le costó 1 año dominar. Está vez siente las miradas un poco mas "agresivas" mientras se suben a su triciclo y se van. No hablan al atravesar la ciudad que cada día deja de parecer un laberinto de ruinas. Se esfuerzan por no pensar en cuáles de esos escombros les sirvieron de refugio, y mucho menos en dónde estuvieron sepultadas. Tampoco voltean hacia los montes que rodean la ciudad, dónde quizás esté Kaho. –¿Porqué se llevaron a Walter tan lejos? La pregunta de Tomoko sonó como un reproche que Yuu comparte. Un semáforo indica alto y la madre piensa en su muchacho. La cárcel no solo está terriblemente lejos, su régimen sin derecho a visitas no ha cambiado en 2 años y si quiere visitarlo, debe atravesar territorio imperial. Formalmente lo comprende. –Tu hermano hizo cosas horribles... –¿Y los otros no? A su derecha una enorme lona anuncia las transmisiones diarias de Sachi Mima. Una engreída y obsesa con el orden, a quien Yuu conoció muy bien cuando fueron vecinas. Hoy es ideóloga de los imperiales que vuelven a llamarse libertarios. En el afiche, posa con su mirada afable, su mano extendida al espectador y un campo verde a la espalda. "Reconciliemos a la patria" grita el encabezado. En letras mas pequeñas: Libertad Nacional. el partido que llevó extremistas al gobierno y ahora pretenden lavarse la cara. No le responde a su hija, siente que su respuesta es muy obvia. Pasan la zona habitacional, llegando al área comercial y de talleres. Yuu da una vuelta larga para pasar cerca del taller de su ahijado, Isamu Kuroki. Siente que el y Tomoko tienen buena química. Isamu está afuera de su taller, arreglando un buey de carga y dobléz, diminuto y delgado al lado de la enorme máquina. –¡Isamu, Gambare! –¡Gambare! Responde Isamu a Tomoko, levantando una herramienta neumatica y golpeando con ella la solida vestidura del androide. Muchas voces se suman, algunas con otros acentos y agregando palabras en otros idiomas. –¡Gambare, hijos de su puta madre! Tomoko y muchos más repiten esa arenga, aunque la chica no la entiende y su madre se ha cansado de decir que no la repita. Mientras se van, muchos trabajadores de la zona golpean láminas y páneles con sus herramientas. El atronador golpeteo eriza la piel de madre e hija, en recuerdo de las interminables balaceras que sufrieron durante el asedio. Ya se sentían con su gente. El traqueteo estridente avanza más rápido que el tráfico de la zona, pasando de talleres a tiendas, comercios y cocinas. Unos lo hacían con herramientas, otras con cuchillos, instrumentos de cocina, hoyas y hasta botellas de plástico vacías.
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ゆう
A low-angle medium shot captures a scene of mechanical destruction where a petite high school girl, a former class representative with long black hair and glasses, is being crushed. Her expression is vacant with lifeless, open eyes, and her body is limp, with limbs haphazardly flung. She wears a filth-stained, tattered dark blue sailor uniform with a ribbon and a shredded long pleated skirt that flutters in the air. A mechanical claw has gripped her head firmly, lifting her up, while her left arm and left leg are grotesquely broken. Her right leg dangles as she is pulled toward a massive industrial shredder filled with saws and crushing gears. In the upper frame, viewed through a glass window, a middle school girl in a blazer looks down with a cold, contemptuous expression. The environment is a grim waste disposal facility filled with industrial debris. The atmosphere is bleak and oppressive, with a muted color palette and sharp, metallic textures emphasizing the cruelty of the scene.
ゆう
VSPO!のヤンキー女子高生トリオ
Rato猫
ゆう
A low-angle medium shot captures a scene of mechanical destruction where a petite high school girl, a former class representative with long black hair and glasses, is being crushed. Her expression is vacant with lifeless, open eyes, and her body is limp, with limbs haphazardly flung. She wears a filth-stained, tattered dark blue sailor uniform with a ribbon and a shredded long pleated skirt that flutters in the air. A mechanical claw has gripped her head firmly, lifting her up, while her left arm and left leg are grotesquely broken. Her right leg dangles as she is pulled toward a massive industrial shredder filled with saws and crushing gears. In the upper frame, viewed through a glass window, a middle school girl in a blazer looks down with a cold, contemptuous expression. The environment is a grim waste disposal facility filled with industrial debris. The atmosphere is bleak and oppressive, with a muted color palette and sharp, metallic textures emphasizing the cruelty of the scene.
ゆう
ゆう
A low-angle medium shot captures a scene of mechanical destruction where a petite high school girl, a former class representative with long black hair and glasses, is being crushed. Her expression is vacant with lifeless, open eyes, and her body is limp, with limbs haphazardly flung. She wears a filth-stained, tattered dark blue sailor uniform with a ribbon and a shredded long pleated skirt that flutters in the air. A mechanical claw has gripped her head firmly, lifting her up, while her left arm and left leg are grotesquely broken. Her right leg dangles as she is pulled toward a massive industrial shredder filled with saws and crushing gears. In the upper frame, viewed through a glass window, a middle school girl in a blazer looks down with a cold, contemptuous expression. The environment is a grim waste disposal facility filled with industrial debris. The atmosphere is bleak and oppressive, with a muted color palette and sharp, metallic textures emphasizing the cruelty of the scene.
ゆう
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