My assessment of Tokyo Ghoul has always been, "Not particularly bad, but also not particularly good". In other words, it's readable, but nothing to write home about. It's in the same place I slot Nogami Neuro.
You can keep going on and on showing tarot card hints and 'foreshadowing' and all that jazz, but it just reminds me of the people who harp on and on about symbolism in Evangelion. Which is to say you're like a guy who thinks a lady who asks him to buy a mattress for her wants to have sex with him; you're reading too much into it. The so-called careful development and 'symbolism' and 'hints' are largely irrelevant to the actual storytelling: Kaneki is a human who became a half ghoul through sheer bad luck, and his existence as half and half is supposed to question humanity's coexistence with other species, particularly one that is higher on the food chain. Problem: those questions are tossed aside once he powers up through a torture sequence and the plot becomes less about human-ghoul relations and more about SEKRIT ORGANIZATION MAKING GHOULS ETC. I want us to understand each other, so let's have a power level fight! Mental instability increased because of plot details, time to have another fight! And so on. Unquestionably straightforward shounen fight-to-fight storytelling, predictably boring.
My comparison to Kira Yamato stems largely from one incident I found somewhat similar to Kaneki's progression. Kira gets blown up by his friend and wakes up with his friend's fiancee, and abruptly gets an enormous powerup in his convictions and fighting abilities. The torture sequence for Kaneki does the same; perhaps you can say the reflections on his mother and all the time spent psychologically running around during the torture is part of his development into a powerful ghoul, except that it doesn't make sense. He became a madman to escape; minutes after that he returned to 'normal' mental state except now with significantly more power. Ha. What did I miss? I missed the part where he slid back into sanity so suddenly he's a functional, plotting human being the same night he lost his mind. Why did I miss this part? Because it never existed. He just walked out of there and he was powerful.
Perhaps then it was 'setup' for the second half. The so-called psychological themes you speak of is in every other good manga, it's called drama. For Tokyo Ghoul, Kaneki's internal conflicts lasted far too long. There's only so much to take of one person struggling to stay sane with no progression. He always feels like he's hit by a truck with every plot revelation and there's endless angst without character development. Reading about the opposition was a breath of air and their inclusion into the story with chapters of their own was probably necessary because Kaneki was such a drag. It's like watching a South Korean soap opera: there's way too much garbage happening in the middle of the romance because the show needs to be X episodes long, so it stretches until the romance is a bore.
If you can tell me what insightful thing the second part of Tokyo Ghoul had to say about being human, being ghoul, relation between humans and ghouls, and society or generally just anything it introduced as themes in the first part, you're welcome to try. What the second part is concerned with is the personal drama of Kaneki, and of the ghoul investigators. But those personal dramas don't tie to statements about humans/ghouls. It's just standard character drama. I barely remember anything about those stories other than Amon trying to get with the daughter of his former partner (I don't even remember her name or his boss's name) and something about why the girly boy remains girly due to his balls getting cut off.
It's no good if your characters are getting development subtly through numbers drawn in the pictures. Did FF13 have good character development because you could read all of the characters' thoughts and feelings in the menu? No. If I have to look up with the Death Tarot card means in order to better understand a character, what good is the writing? See my statement above about Evangelion. The number of crosses in the scenery do not translate to how deep the characters or story are. Many Tokyo Ghoul characters are actually quite one-dimensional despite your assignation of 'tarot cards' ('concocted depth') to their characters. The bulk of character development is invested in Kaneki. Touka, despite her so-called position as heroine, receives very little development and the 'Prietess' arcana SAYS NOTHING about how her perspectives or resolve changes. She plays practically no role in the second half of Tokyo Ghoul. Suzuya? Likes killing. Is in perpetual 'learning to be human' stereotype until the very end where he finally receives development through the death of another character who plays teacher stereotype. The characters are not well written; they're hardly written.
I don't remember who the villains are. Some well-developed villains they are. Lol.
My assessment of Attack on Titan, currently, is "This is still going in a direction I didn't expect it to". I'm not under any delusion that AoT is the best shounen ever or that it is a super deep amazing story with amazing characters. What I can respect is that the author took an unusual direction that practically nobody who likes shounen liked. That he could have continued down the human suffering and futile fight against Titans route but he didn't (the route that Tokyo Ghoul took!). Which ironically leads to AoT being oddly more seinen feeling than Tokyo Ghoul.
If I am to evaluate AoT's characters, I would say my opinion of them is about the same as my opinion of Tokyo Ghoul characters: they're not well written, they're hardly written. The upside to AoT's cast is that for all of the clamoring about Levi, he's less of a Jesus than Arima.
Your evaluation of Mikasa shows that you like girls who are pretty for scenery (Touka) and not girls who have some past development and the potential to grow more (Mikasa). I dislike the aspect of Mikasa that is fixated on Eren; however, she is not depicted jobbing to other characters after having some portrayal of how strong she is, unlike Touka. AoT rightfully tempers Mikasa's strength due to her limited combat experience; I feel like she doesn't play second fiddle to Levi because he's just more powerful, but rather with more combat experience and a thirst for blood Mikasa could outstrip those who are currently better fighters than her. Touka is floored when her brother arrives on the scene, despite having in just a past arc defeating a supposedly powerful ghoul. And then she virtually disappears from the plot. Mikasa on the other hand operates with Armin and the other rookies when the Titans gain entry to Trost; despite the absence of Eren she works with Levi and performs as a focused soldier equal to the position of 'first' that she was attributed with during their training days. Mikasa doesn't get shafted like Touka. But obviously, you're more into hunting for 'symbolic' numbers in artwork than in properly evaluating characters that are not in your favorite manga.
Currently I consider AoT better than Tokyo Ghoul purely due to the progression being more interesting than what happened in Tokyo Ghoul.
I wonder if my writing is just that poor that the comparison between AoT, Tokyo Ghoul, Terra Formars, and Parasyte for this, "The Japanese market for the past two, three years hungered for man vs. monster stories that portray men as something darker than your usual righteous justice against evil powers." is taken as a direct comparison of anything between all of the mentioned stories. Or is it poor reading comprehension clouded by bias that cannot bear a superficial comparison to an unpleasant manga to illustrate a point about the audience in Japan?
Because a guy using a female's power to win a fight is the same as a female character winning a fight. Right.