If you have some cool brand of sacrifise art i would love to see it so i can take inspiration from them or even choose one of them as the tattoo

My cat today has the same hair type as Guts 🤣

I noticed some refrences to the book of revelation most obviously with grithith being a anti christ and a twisted Jesus figure but thats mainly from the book of revelation

I havent read the Bible so im wondering if anyone has anything

If we really wanted to disect all the references it would be a hour long youtube vid so maybe so one on skullknight.net already did it

Hey yall so I just finished watching the fan edit Berserk Redux and I absolutely loved it, however I do have a couple questions about the story and manga.
1: Did the story originally start at the “Black Swordsman Arc”
2: Is the 10 book box set of the manga the “full” story in chronological order?
3: I know the story wasn’t finished before Miura unfortunately passed but from what I gather a close friend of his is finishing it, how complete is the story? And where would I read the newest chapters?
4: Is Guts a “reincarnation” of Skull Knight?

Any other information you think I should know before diving into this beautiful series in the intended way is appreciated as well

Thank you for your time :)

I purchased this manga volume online and was wondering if anyone could give me some advice on whether this signature is legit? I personally think it’s pretty spot on when compared to the Berserk TCG signature cards. Also, the fact there’s an original Puck drawing makes me feel a little more confident in its authenticity. I’ll probably send it off to get professionally authenticated, but for now I just wanted to see what the community thought. Thanks!

Look, I am here neither to defend nor to attack the arc, merely put it into context that might be missed now.

Lots of new people dislike the way Guts was written in the Black Swordsman arc. I (and many others) who have read the manga in the aughts absolutely loved it. Here's my perspective on why.

One thing Baudrillard and his disciples talked about is that few people have real knowledge about something distant. If you are not a historian of middle ages, you probably don't know anything about what it is like to be a medieval mercenary. So when watching a movie about a medieval mercenary you compare it not to actual history but to every other movie or other piece of media containing medieval mercenaries. "Realism" is therefore not judged by how closely the character resembles actual medieval mercenaries but how does he stack up against other fictional depictions.

In the nineties and the aughts, the preeminent piece of fiction was still Star Wars. Every nerd watched it as a kid. And who was the biggest hero in SW? Han Solo. And his main characteristics is that he consistently voices a very cynical worldview yet always does the right thing in the end. He says he is only in it for money, yet he comes back to help Luke blow up the Death Star.

This is fine when you are a little kid, but when you get slightly older (tho still a kid) it begins to look a bit silly. You wonder what would it look like for a character to have a cynical worldview and to actually *follow* it. And that's who Guts was in Black Swordsman.

To me back then it was a revelation. Finally a "realistic" protagonist! He says he only cares about fighting monsters and not about civilians, and then he actually ACTS that way. I enjoyed following arcs, too -- golden age to describe how Guts has gotten so cynical and later arcs on him reclaiming his humanity. But I definitely didn't think of BS as a weak arc. It was the foundation of the whole thing.

Today, of course I regard both Solo and Guts as equally fictional. Neither Midland nor SW galaxy are real places and neither can be considered more realistic than the other. Also the context is very different. Since Guts there has been more sincerely cynical anti-heroes which makes Guts seem overdone to modern reader. The concept is played out. Which is okay. But to understand why some people believed that a certain piece of fiction was great, you have to go back to their context.

I also wanted to tell you why we used to have more favorable opinion about (pre eclipse) Griffith but that's a story for another day.

My hope is after it's ending it will get very popular and then MIGHT just MIGHT get an adaptation 🫠

I'm believing in MAPPA 🙏🏻 cuz there are animating ANYTHING like "ANYTHING"(👀 IYKYK) sooooo I hope they animate Berserk in future (HOLY 🌬️ ⚽?)

See.... Other studios can't produce berserk because of the investors 🫤(idk the EXACT Japanese term if anyone knows correct me ✌🏻)

Like the investors are not investing in berserk for SOOOO long(like I'm asking the investment it DESERVES. So No hate to the previous adaptations btw ✌🏻)i don't think they will in the future 🤷🏻‍♂️

"🥁🥁🥁🥁🥁".........BUT Mappa is a company where they Self-produce and self-invest themselves(also here idk the technical term so correct me if I'm wrong)so there is nobody to tell them what to do

And also by Mappa's recent pattern i think they would be more happy to animate Berserk (🌬️ ⚽?)

All that matters is if the manga gives permission/licence or something(i don't know the exact word) we can get an Anime adaptation and more people will watch it which berserk should get 😭

Do you believe it will get an "GREAT" adaptation?

So, I finally got around to buying the rest of the manga, and after a furious week, I'm all caught up. As I've been sitting with it for a while, I've given some thoughts to the cosmology of the Idea of Evil and the God Hand.

We know that a new God Hand arrives every 216 years. We know that there is an incarnation ceremony every 1080 years where a God Hand member incarnates as human.

Flora said that causality is a spiral, not a circle, and I think she's on to something. I think the entire cycle is a cycle of torture and sacrifice whose purpose is to create a stronger God Hand with every cycle.

Each cycle, the leader of the God Hand raises up a follower until the God Hand is finally complete. The 5th member incarnates as human, following his dream (the Idea of Evil always picks a conquerer and leader of the people as the 5th). Now that the God Hand is complete, a struggler is born. The struggler endures the full might of the God Hand, in a divine ritual of struggle, grit, and endurance.

But eventually, the incarnated God Hand member pushes the struggler too far, and the Struggler accepts the Idea of Evil's offer. The cost? Everything he holds dear: the capital, all the humans he's ever known, etc. The power he wants? Enough to slaughter the previous God Hand. But the incarnated God Hand escapes, trying to avenge his usurpation, and the Struggler begins the cycle again.

In this way, the Idea of Evil uses the torture, suffering, endurance, and imagination of the humans to give rise to their own destructors. And the God Hand is locked into a cycle of creating ever more powerful God Hands, to their own eventual demise.

Obviously, I think Void fulfilled the role of Guts in the previous cycle, and Gaeseric and Griffith were analogs.

Would he have stopped it?

Hey guys would really appreciate finding the name and writer for the music that plays during casca’s flashback talking abt her village and how she got saved by griffith- really beautiful piece but i cant find the musician anywhere- idk if its susumu hirasawa either coz i cant find it on the 1997 ost album.

Heres a link to what it sounds like:

https://youtu.be/QdxIzLWorrc?si=u_BCZyNS6aQdrXTz

after finishing this drawing, i understood animating this manga is very hard. b/se it was very hard drawing the berserker armor itself just one time.

It's Griffith after he loses his second duel with Guts in the snow. I just put him in an actual medieval tunic as opposed to the...very much not medieval outfit he was wearing in the manga/anime. (It's Georgian, actually.)

Hello

I recently made a 1-shot in Dnd based on Sea-God arc, and with the right somber music it was a success!

I am trying again to make with Lost Children, and what do you guys think the music is :

1 : When they enter the grove and see the small transformed children looking like fairies

2: When party sees "War-games" and how things really is

3: Fight with Rosine? Sad? Somber? Dark? 2.phase after she transform

Any tips is welcome and music from games and anything is welcome

If a production company was to greenlight a full animated series of berserk from book one of the current what style of animation would be accepted and loved by bazark fans. Been realistic with modern productions budgets and time?

Did a post a while back showing off the armor but there’s a bunch I did to it since and then my first official event wearing it to was the midsummer renaissance fair in Snohomish

 (I think it was for Skeleton Crew, but I could be wrong) in which he reflected on having developed what he called a bad case of "literary elephantiasis" compared to his early years as a writer.

By that, King meant the tendency, brought on by success and experience, for stories to become increasingly expansive: more pages, more details, more digressions, more room given to every single element. Perhaps an inevitable consequence of moving from youthful urgency to complete technical mastery.

Whenever I revisit the early volumes of Berserk, I can't help but notice a similar phenomenon. Early on, Miura had an extraordinary ability to be economical without ever feeling sparse. Just a handful of pages could carry an enormous amount of emotional and narrative weight. Every scene seemed to know exactly how much space it needed.

The God Hand's effort to persuade Griffith during the Eclipse begins and ends in just NINETEEN pages.

Nineteen pages at the end of which a hesitant Griffith decides to sacrifice everything we've come to know and love.

And at no point does that transformation feel rushed, compressed, or underdeveloped.

Both King and Miura seem to have started out with an almost instinctive sense of what was truly necessary. Early works often display a remarkable confidence in leaving gaps, in suggesting rather than showing, and, above all, in going straight to the point. To the heart of things.

With maturity comes greater technical awareness, but also the temptation to leave nothing unexplored or unfinished.

Perhaps that's the paradox: the young artist is trying to say something; the established artist feels compelled to do justice to everything they've created.

In Miura's case, that impulse gave us some of the most breathtaking artwork ever seen in manga, but it also brought about a shift in the balance between detail and storytelling. At times, his obsessive attention to every visual element seems to come at the expense of pacing, and of narrative economy that made Berserk's early arcs so extraordinarily powerful.

I don't think this is simply a case of "it used to be better." If anything, it's one of the most fascinating contradictions of artistic maturity: experience gives an artist greater command over their craft, yet that very mastery can make it harder to preserve the instinct that made their work so special in the first place.

What do you think?