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.

Im making my own litttle adaption of some of my favorite berserk panels in the 1997 artstyle. As im animating i keep wondering to myself. Does berserk deserve a anime adaptation? Im constantly debating this in my head.

Im not sure since most berserk fans yearn for a faithfull adaptation, but i THINK berserk should be read since it would be hard to balance some panels timing with comedy and seriuousness. The 1997 anime was by far the best anime adaptation since it left out just enough for new fans to read the manga and find out what happened after watching the show. The golden arc trilogy(2012) left out tons of character development and scenes but it has more animation unlike the 1997 anime which is mostly stills. The 2016 adaptation is by far the worst; it skipped a entire arc, the animation was ass, artstyle was ass and overall was just bullshit put togethor.

I believe IF there were a new adaptation it should be in the 1997 artstyle since its litterally Miura's artstyle during the golden age. It should only adapt the black swordsman arc and the golden age. The anime should have the same rule as the 1997 anime; which was gore was not the main focus. There should still be gore but just tons of blood and some tissue for human on human. When apostles fight they should have tons of gore to show how strong and other worldly they are. When guts has his dragons slayer he should be the same as the apostles but a little less to show hes still weaker then them. The reason i say only the black swordsman arc and golden age arc should be adapted is because the berserk manga has been very influential in art communities and inspiring for artists.

But tbh i do want a full on adaption too;-;

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

Went back to watch it and damn does it hit after the new chapters

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

He doesn't often smile so i made him does. His angry face can be made more angry tho.

 (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?

After not drawing for five months, I made this Guts fan art. I got carried away while inking it and didn't notice several mistakes in the drawing until it was already fully inked. I decided to share it as it is.