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Art and Culture # 23: The Art of the Message

11 Mar

-For the Uncensored!

Ah, the message. A message, by definition, has meant so many forms of expression over time. It went from the oral, cave, and when literacy entered into humanity’s sphere, writing and letters, were then used as a means of letting people know what they are thinking. Then when communication, and especially novels were definitely apart of the way the world communicated and how the Art of the Message took to many outlooks of expression into the modern era. Pigeons were still a very popular way of spreading messages, and if a pigeon came, it was either a sign of distress or love. As the Industrial Revolution took place, we had the birth of the telegram, which you could tap messages to express yourself, but it was used by businesses, and was limited to regular people being able to communicate or spread a message. You could consider the Turing Test as a means of communicating decrypted messages that helped the Allies in WW II achieve victory against the Axis coded communication. It seemed like a new breakthrough in communication and the messages a machine like Turing created enhanced our way of communication to what we had later on. In the modern era, there were fax machine, pagers, cell phones, smart phones, SMS, e-books, Social Media and text messaging. All are now our ways of reaching forms of communication and helping family and loved ones stay informed about family health, and happiness, but also allow businesses to communicate their message to the public. Computers and iPad also allow individuals to state their opinions and address important sales of art, or let people contact them in order to purchase an individual’s books, art, or anything they have to sell. 

            Now, why bring up the history of communication? Art has always relied on a form of communication. Communication is intermingled with Art, and how we read, write, draw, and understand the world we live in. Art and messages have never been that far away from our imagination. When we see the Pieta, sculpted by Michelangelo built during 1495-1499, to represent the pain of the Blessed mother holding Jesus after he was crucified. It’s a majestic sculpture if you are at the Vatican. It is one of the zenith Renaissance sculptures that depict a classical form of a message to the beauty and pain. But with pain is a message. I know that most people “don’t want a message” in things, but the lack of a message in art is never going away.

            It can be woven into the art, as the “ideology can meld with the aesthetics.” No art is without a message, and it can be communicated in any form where art is represented. 

            Although communication is represented with artistic forms, while anger, can also be a form of communication in art, too. If that wasn’t allowed, there would be no transgressive art forms to help channel our deep psychological nerve endings to calm down our primitive side of life. Now, saying that art leads to violence is not a thing. If people are inspired by the art to commit violence, who is really to blame? Is the artist a good communicator and is in touch with the primitive side, or the person who can’t ration what is separated between a book, film, or game? Sometimes artists can be too good at communicating pain and sometimes the participant thinks the art they are taking is talking to them. 

            This has happened, to me too, but I don’t start acting out the fantasy of violence in real life because the art itself does it anyway. If you wanted to ban a book, like Catcher in the Rye, it’s not that it pushes anyone toward violence, as many like Chapman, said before, quoting the book in his testimony. 

            As an aside, I would ban Catcher in the Rye because it was boring and overrated. I mean, the kid just runs away from school, says a few curse words, and then disappears. I’m kidding, but you get the gist. Also, I would never want to ban Catcher in the Rye because I want people to see how boring and overrated it is.

            But is the writer, filmmaker, or painter, is good at communicating violence, anger, rage, does that mean the art is to blame at how effective it is, or if it’s not, should it be left alone? Does subtlety make up a big portion of how we see violence and the world presented in any art form. So is the message of violence so important to remind people it’s bad. I don’t think we needed exposition phrases uttered on paintings from HR Giger to represent the horror and unknowable of aliens. Does a message written on a beautiful painting say less or more when the pictures don’t need words. Paintings can escape tedious messages, but it’s what you see in the painting to represent your own thoughts.

            In stories and fiction, exposition has sometimes added more to the conversation, and sometimes, mystic conversation can help bring an air of mystery to the text you are reading. Not everything has to be didactic, like the bible, but sometimes descriptions help portray the message of a landscape. Sometimes beauty doesn’t need many words to communicate what the world needs to know.

            But is being explicit help either? It all depends on what an individual sees in the art they are ingesting. No matter if it is violence, beauty, or tragedy, a message can hep guide us through personal turmoil and get rid of our frustration, and communication, through art forms, rely on audience participation too. But if art is taken away because that art is effective, then that’s another worse sign in society, too. What message does that create?

 -Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4

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Trapping Griffith in the Climax of Berserk: A Response to AlexEnterprise

26 Feb

For the Uncensored!

I came across AlexEnterprise’s video that is a pretty valuable idea when it comes to Berserk. The whole notion of trapping Griffith and the Godhand is an interesting idea. It is a way out for Miura if he needs to retire his stead on the manga, because that doesn’t mean that Griffith won’t stop. If they don’t weaken Griffith enough to the point that he would be then killed off by the demons he creates, cutting off the idea of evil too. 

            The problem with AlexEnterprise’s video is that while I do agree with his connecting history of Berserk with the whole of the series, is not so bad. Like how he connects King Geisereck trapping Void in the Tower of Conviction. Alex is good in connecting some dots and theories that can make anyone believe. 

            If Guts is meant to have a battle, maybe it’s to draw out Griffith, but that would be too easy. While I agree with many of the dots that Alex Enterprise connects, there’s something I find suspicious. It doesn’t take Rickerts story into account. What might he have to offer? What if he is the one who takes down Griffith? Or, in that final moment, in all her strength, Casca kills Griffith. 

            I understand that you might not be able to kill a Godhand, why would trapping Griffith make Griffith not want to escape his prism and come after Guts and all his kin? Maybe that’s what led to King Geiserick’s downfall, and the death of his wife. I get that trapping him, as Alex Enterprise said, to “bide for time”  it’s not going to solve or defeat Griffith from finding Guts and ripping him apart. 

            What makes it so hard to believe the idea that you can’t kill a Godhand, is that it might not come from Guts hands. What’s impossible is that it’s not even possible. There has been a lot of momentous events in Berserk, and Miura might just pull a fast one. Cause if you trap Griffith, who is going to fight him next? Or if Causality is concerned, the cycle of Godhand will choose someone else and the cycle of Berserk continues all over again? 

            I think if Miura did as Alex Enterprise said, it might be a lackluster ending, and maybe afford a happy ending for Guts, but I don’t know if that will happen. Time will tell, but Miura, for certain, has to deliver an epic showdown. But if that were to happen, and Griffith is trapped, why would he be contained. The demons work for him. But I do get that if you do follow Berserk and make connections like Alex did, it would be anti-climactic. Berserk might just end on a depressing note. Because to break the chain of evil doesn’t mean you can contain it. Evil has a way of getting out of boxes. Evil is not just an idea, because evil is a manifestation of what we think and see, and the problem is, you can’t contain Griffith forever.

            Griffith knows that he’s on the path that is set for him, and doesn’t seem to want to betray the God Hand, either. I have no real proof but just an observation that you can accept or disregard. But Griffith has evolved to the final stage where he can be seen on as a God to midland and a demon to his closest advisors.

            You never know in Berserk, and Miura is the only one who can control Causality in Berserk. Causality is just a definition for me, because Guts actions and decisions are going to choose where the novel is going. But as an aside, if Guts can’t even control causality, Griffith seems to be on the same path, but I don’t think anyone should underestimate Griffith or Guts, or what curve balls Berserk can throw. 

            So, trapping him might be damn near impossible, because as we have read, Griffith would bend heaven and earth to make sure Guts will pay, and even if containing Griffith will work, who says it might not backfire on him, having him repeat the doomed tale of Skull Knight. But would Miura be cruel enough to end it on a cliff hanger, or even a depressing note, for someone else to finish if he wants to retire. But handing off the story for someone else to finish feels cheap too. It wouldn’t be the same, and someone else could change the lore to fit something in current artistic culture would not fit the tone, themes, or story of Berserk. Repurposing art to match current political standards is wrong and it won’t do Berserk any favors.

            But also, Rickert might have one more part to play, as it might afford Guts the happy ending he deserves. But as Gandalf said in Lord of the Rings, “The board is set. The pieces are moving.” 

            All we can do is wait, but Kentaro Miura has to end it, one way or another. He might be the sixth member of the Godhand, or the Idea of Evil, also, as much can be interpreted that way, too.

-Louis Bruno is the author of more than 15 books, including, The Michael Project, The Michael Project: Book 2: The Lost Children of Eve, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/, and Parlerhttps://parler.com/profile/therealLouistbruno/posts. Instagram @lbrruno8063 and @louisbrunoofficialbook. He has written for the Intellectual Conservative and Ephemere. His latest, Come Home, Young One, a dark fantasy novel is out now at Lulu.com. Link is here: https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4

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Berserk Chapter 363 Review

22 Jan

In the latest chapter of Berserk, we see finally how Skull Knight claims his role as King Geiserek, and we learn that Flora, Schierke’s elvish mentor, broke an oath and had to leave elfham. The problem is, we don’t know at this point. What can be surmised is that the fan service of many a year were correct, and while some were waiting 20 years for this arrival, it means that the future of Berserk now hinges on Guts and what the rest of his journey must entail. There’s a slight brief moment of comic relief, but it’s more of a distraction in this chapter, as I was really ready to have more of Guts and what he thought. But it seems that Miura is lessening his pages with Guts because it seems like now, Guts has a decision to make. 

“Then in the end you must determine what to make of your fury. Whether it is to be the breathe that keeps you alive, or the hellfire that consumes you from within.” 

Gut’s Final decision https://readberserk.com/chapter/berserk-chapter-363/

It’s a moment that Guts realizes that the final breath of the journey depends on whether Guts learns to forgive his past, and know where he must stand in his battle against Griffith. Guts is character that was driven by revenge that only now he starts to realize the battle he faces has happened before, and how he must defy the fate of becoming Skull Knight, or become the very thing he hated. It’s a question of morality, as Guts could stop pursuing Griffith, and after the death of the Band of the Hawk, and all that he faced, could he retire and live his life in peace? 

The problem is, Griffith knows that as long as Guts is alive, Griffith won’t stop. So, safe to say, it won’t be that long until Guts and Griffith meet, and Guts now has the army to fight off Griffith. Guts stares into a window where Casca is, and he knows that he must control his anger and rage as long as he can return to Casca. If he turns into Skull Knight the quest would end in futility, but with Miura, it’s about the soft pain of reality within the fantasy. 

If Guts commits to violence he would never be able to live normally with Casca ever again. But we get one final scene that made me eagerly await for the next chapter. The mysterious elven king approaches Guts, as there must be wisdom he can impart. Hopefully to break the cycle that Guts and Griffith are enveloped in. But it wouldn’t be surprising if Griffith did a 180 and defied the story, but there’s no chance that Guts and Griffith would stop fighting. It wouldn’t make sense, but then, Miura has built Berserk off the chance of the story changing at a moment’s notice. 

The problem is the comedic relief impeded on what mattered. Guts and his journey, but today, the decision that Guts makes will impact the rest of the chapters, and the final battle that is to take place. 

I’m sure we are going to see a storyline with the Bakiraka and Rickert, as the battle is going to take place in Midland as Guts plans his next move. But every second spent in Elfham is more than seven years past in Midland. But the next chapter must give Guts the reason to pursue Griffith, and control the Berserk armor. 

Overall, the comedy does impede the narrative as single comic, but might work in a volume. The comedy does give some break to the intense plot, but overall, the narrative needs to pick back up, but hopefully the side quest comes to an end.

Overall Rating: 3.5 out of 5 

-Louis Bruno is the author of more than 15 books, The Michael Project, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, Minds https://www.minds.com/lbruno8063/. His latest book, Come Home, Young one, a fantasy novel is available on Lulu.com, and will be available on other chains and ebook at a later date. https://www.lulu.com/en/us/shop/louis-bruno/come-home-young-one/hardcover/product-pw8q7z.html?page=1&pageSize=4.

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Berserk Chapter BO Review

11 Jan

In the next chapter of Berserk, we arrive away when Guts escapes his battle, but we’re in a middle of a forest, and Guts is accosted by demons. What is worse is that Guts is wounded from the battle in the previous chapter, in his fight, as the dark contrast to Guts skin lets us know the scale in the shading. The shading in the first panel proves that for any novice aritst this would be murder. Somewhere, if I was drawing this, I would not be confident enough to represent a shadow of grey within a darkened forest. The eye, when looking at the panel, is that Miura is aware that we are aware the black demon’s face has veins and represents a smooth contrast, as the worm demon (that’s what we’ll call it) with grooves to represent the weight and of the demon worms skin. The grooves on the demon worms skin are a workout for a novice. If you tried this, no one could compare to the craftsmanship Miura was learning to do.            

With this first panel, it provides all the danger and excitement that any movie would need. Comics are often misinterpreted as basis for movies, but this is not to be confused with story board drawing that is only used for directors vision, and not for manga or comics. Miura seems enthralled with using minimalist close ups to provide tension and horror to a scene. But it is worth noting that while it is artiscially striking, it proves that Miura is not afraid to create confusion so that the reader would see a character, like Guts, breathing so that the reader is enticed and scared at the same time. Almost like a Gustave Dore painting. A painting of Virgil addressing Dante is what we should take a look at the first panel as well.  Both the pictures represent how grey and blacks mix with each other as while the Dore picture gives off a shadow, the two opening panels of berserk represent an ode to Dore. But the only time light is represented is the fire in Dore’s painting while Guts skin is the only time we see light represented in Miura’s touch. This seems to be a calling to Miura, replicates shadows throughout the darker moments.

Berserk v01 (2003) (Digital) (danke-Empire)

It seems that once an opening scene in the early volumes of Berserk have this flare to entice, but when scaling back, Guts, in his physical form, is more conservative, but also details a hint of his youthfulness, even though he is deeply hesitant to trust Puck. Insulting Puck, rejecting his friendship.

Berserk v01 (2003) (Digital) (danke-Empire)

Even when a wagon with a priest asks to help take him on his next destination, Guts, as the Black Swordsman, knows that wherever he goes, he can’t have friends, or endanger them. The Black Swordsman, in this moment, is not by Christian terms, “Man of the In-Between” as he should have a duty to serve others and offer his shield to others (The Military Bible, Weber, Stu. p.1101). We are framed with Guts mindset as we are presented with no other, but The Black Swordsman is not obligated to help anyone. The “Man of the In-Between” is not present in The Black Swordsman’s words. 

Berserk v01 (2003) (Digital) (danke-Empire)

But he doesn’t care, too. As Guts is the main character, we only see it from his perspective, as Miura doesn’t give anyone else so far any narrative detail. It just proves that a dark character still is an interesting path to take when you can shape the narrative in simple narrative arcs. In the wagon, Puck is accompanied with them, and Guts sits, minding his own business. When a conversation about the Black Swordsman’s profession, the priest recalls his son died in battle. But The Black Swordsman has something different to offer, as this is such a defining moment for the reader with the Black Swordsman and his psyche.

Berserk v01 (2003) (Digital) (danke-Empire)

Only as Guts decide to get some sleep, he falls into a dream, running down a hall, and a weird ectoplasm appears at the end, hovering over him, as his foot is pierced with a pike. In the same moment, we see that his left hand is gone. The audience isn’t privy to the world Guts has known before. A hallway is  supposed to represent a character who has no way of escape as it could be a repetitive moment playing back in the psyche of a character, but in dream logic, Guts is a definitely trapped inside it. There is no way for him to get out. He’s haunted by a voice that says, “You cannot Run!” The words cannot are spelled out so that it retains a horror story quality that Miura knows so well.

Berserk v01 (2003) (Digital) (danke-Empire)
Berserk v01 (2003) (Digital) (danke-Empire)

This creature, to the reader, is blinded by the hallway, as we see Guts psyche in the hallway, awakens as a creature tries to cover his head, and he stabs it. What we see from the drawing is the curves on the incubus’s forehead presents dimensions and grooves, that we see as the life is drained from the Black Swordsman’s knife. The Incubus feeds off people’s nightmares, not letting him sleep. But as a panel explains the question of what draws the Incubus near. But the brand is finally explained.

Berserk v01 (2003) (Digital) (danke-Empire)

 As Guts warns the priest and the girl to stay inside the carriage, the Incubi, is “born out of the mixed blood and sexual fluids of those who died filled with hatred and malice, which means that somewhere around here there must be a corpse of bandits or the like who died violently. Corpses that the demons will possess and use to attack. The instinct Miura creates is allowed and make the world around Berserk credible to the eyes, as Guts acts as a shield now. Only the young girl gets out of the carriage, and it proves disastrous to her, as she is stabbed by a spear. 

Berserk v01 (2003) (Digital) (danke-Empire)

It’s shocking and the demon corpses present themselves from the mist. As Puck wants to run away, The Black Swordsman remarks that “it’s part of the territory” to be alone on the battlefield. We see that the Black Swordsman doesn’t care if anyone helps him. He’s used to doing things alone. But as he strikes, Miura creates such a beautiful portrait of violence only seen in action movies.

Berserk v01 (2003) (Digital) (danke-Empire)

In Gut’s face, he’s shadowed out. Much of Guts, in contrast with the real world, is presented without shading, as if he’s better at war than he is with people. The way the sword swings as though he’s cocking a baseball bat and smacking a ball as it’s pitched toward him. There seems to be a lack of technique as the sword he holds is too big for any normal man, as it’s the only way he can swing it. The bones on the skull warrior moves up as it represents the way the eye is focused to see it from the artists perspective, and training the readers eyes to watch it from the swing the Black Swordsman makes. There’s more panels that come after, but the point in the battle pivots when Puck calls his attention away. Perturbed the priests is killed by his own daughter. 

Berserk v01 (2003) (Digital) (danke-Empire)

The shadows across the eyes presents how Mirua is framing the girl’s mental state, as the reader is yet to know her true illness. Guts is shocked at her state of mind, as he can’t move or do anything, as the young girl, stabs the Black Swordsman.

Berserk v01 (2003) (Digital) (danke-Empire)

Only as he is wounded, his stamina is decreasing, as he gags on his own blood. Miura presents a strong theme of loneliness and a curse that surrounds Guts. It keeps him from being around anyone who could become an ally. It’s worse as many will see a parallel of the series crop up here. As I will detail in the later chapters.

What is presented next is the moment we see the Black Swordsman, wounded, as he continues his fight, as Puck watches, proving that the Black Swordsman strength is matched by his anger and will to fight even when wounded. For a first time reader, we are in awe and amazement and also shock. Puck represents what we truly think on the inside. But to the veterans, this is only indicative of the story to follow in the first volume. 

Berserk v01 (2003) (Digital) (danke-Empire)

But as Puck tries to console Guts over losing the priest and the girl, he laughs as the next panel proves his Nihilistic nature is correct, “anyone who gets killed cause they got caught up in someone else’s fight is a small fry. If they can’t live freely they are better off dead.” It presents Guts as he is fully aware of what happened and he doesn’t care. The Black Swordsman knew this would happen and didn’t try to stop them. He doesn’t care about anyone, but it proved that he was not offering there shield in the right way. Notice that whenever a shade of dark presented on the armor as it’s to show the strength of the penmanship where the shadow within the armor doesn’t overshadow the lines of the armor. 

Berserk v01 (2003) (Digital) (danke-Empire)

But the moment in the chapter comes to a close, as a mysterious voice booms over the forest claims “we are always watching you.”

Berserk v01 (2003) (Digital) (danke-Empire)

The end gives the reader the depth of Miura’s chance to scare us, as learning this, proves that the Black Swordsman is not just an evil figure, but someone tormented, and the world around him is enflamed. “Guts lives in this world.” The end of the chapter proves that with each moment, Guts cannot stay still, and with his departure, we see that this chapter specifically plays more with shadows. The Brand proves Guts strength, but also Miura’s eye and what he wants the people to see. Dore, at the beginning gives that dept of field to shadows to the shapes he presents, and it can be seen clearly in the Brand. Miura achieves the emotional core of the Black Swordsman, and his love for violence. 

Overall review: 5/5

Pros:

-Excellent use of tension and dialogue to convey emotions corresponding to the panels.

-The two panel spread of the Black Swordsman conveys Miura’s experimentation of how to draw an action scene.

Cons:

It’s very rough in terms of character depth and drawing, but Miura, in this chapter is more focused on the set pieces, and so, it’s not entirely a con. It’s just what others see.

Source for Manga:

Louis Bruno is the author of more than 15 books, The Michael Project, Thy Kingdom Come, The Disintegrating Bloodline, Apocalypse Soldier, Hierarchy of Dwindling Sheep. His books can be found on Amazon, Barnes and Noble, and Lulu. He can be found on Gab, https://gab.com/thereallouistbruno, and Minds https://www.minds.com/lbruno8063/. A new novel is coming out soon.

Note from Louis: Thanks so much for reading my articles and being such a constant reader. I appreciate it as much as you do. Also, I want to stress that to keep my content ad free, I must ask for donations or to subscribe to my content, that can help keep the content you want free, and can help form the page, and grow my platform. I am still shadow banned, but steadily growing my page. But to subscribe to my content is what sets you apart. Also, please share if you can’t donate. Please consider subscribing and donating in the war in the fight for freedom of speech, as we are at a crucial moment in 2021, as Conservatives, or free speech advocates, like myself, are shadow banned and deplatformed for “wrong think.” Show the big tech overlords that community pages, like mine, are worth more than publishers who don’t care about our freedom of speech.

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Berserk Chapter 362 Review

29 Oct

As Halloween arrives, and all of us get our popcorn and look at the recently uploaded chapter, spanning over a forty year decade to reach a final conclusion to old and new fans alike. The telling is again further appreciated as the Berserk armor Guts wears is tested, and Guts is meant to see something he shouldn’t. “A blood memory.” What is surprising and not to most Berserk fans is that we have a look at a character, Skull Night, confirmed as King Geiserick, in the memory Guts sees. What he proclaims is what fans of the series long questioned for years. Skull Knight is King Geiserk, and now we have proof.

Skull Knight’s admission.

What’s also shocking is the next panel.

Void: The Fifth God Hand.

We see as Void betrayed Geiserik to become a Fifth God Hand. This is monumental in the arc of Skull Knight, and to Berserk as a whole. What we see is very clear as the Godhand that brought Void into existence, and this is important. What we see is that much of Berserk is based off cyclic nature of time. It seems that the Godhand are stuck in a loop of endless leaders, but it’s far more inviting to see that Miura is showing us that Void is the key player of the God Hand cycle. But the next panel introduces us to long held belief and cannon of the Ideal of Evil.

The Idea of Evil.

What this panel illustrates is that the Idea of Evil is now making its presence known, as Guts has never seen this before in his time in the Berserk cannon. It also illustrates that cycle that the hole represents. An idea of evil has no form. It shares no gender. It has no beginning, middle, or end. It’s what is permitted by the fate of causality. If we are all faced with causality, our wounds are never healed. It’s meaningless to try and find our way if Guts is forced to do the same. What we can say is that our perceptions are far more open than we think. Miura is aware of this. The panel of the idea of evil in full view to Guts is when Guts is privy to what Griffith knows when he’s becoming Femto.

The problem is twofold. Griffith, just like the Godhand, seem to be on the cycle of causality, which they accuse every single character who is chosen to become an Apostle Demon, as we know in Chapter asdf where they rely on anger to coerce the characters to make a sacrifice, that would transcend there mortality, or gain such power. As in Volume Three, or if you read the reddit version, Berserk Chapter G0, the Count makes calls on the Godhand, as he screams, “I don’t want to die.”

The limits of Sacrifice.

But the problem is, the count can’t sacrifice Guts, but what he has to do is give up his daughter Theresia. Again, this brings us back to a cycle, as Void is and was someone close to Skull Knight, and Void. Only time will tell what this means for the journey for Guts, but this will play apart of the narrative in the future chapters. 

What we know is clear, is connection with all of Berserk, is that when a sacrifice is made, it’s made out of emotional instinct to live forever, and taking away what we love in the process. It’s the only series that makes me consider that this is about what men will do to live forever, other than Hellraiser, which it draws heavily on (but that’s for another essay), but the whole of Berserk is clear. Void must have made a sacrifice as this is reflected back in Chapter 362, where we get without words, and Void staring down at Skull Knight, is that sacrificing your loved ones for the sake of power is still at the heart of Berserk. 

            A theory, which is not a new one, is that while we understand that Skull Knight is not in control, loses all and becomes corrupted, which is why he plays a valuable role, or a Deus Ex Machina, a God out of the Machine, that saves the hero’s before they suffer a cruel fate. What is undetermined is how the sacrifice will be used later on in the story. Griffith, as we know, is a God that will ultimately betray all he sees that will get him to the throne. He has created Falconia, but will he bring it down with him? But there might be a redemption in Griffith. He might have some other ulterior motives that the GodHand don’t know will happen. The Godhand are not all powerful entities who can predict when such plotted events take place, such as when Skull Knight saves Guts and Casca in Volume 13, sparing there lives. But this begs the question that if Skull Knight was saved before, who saved him? There’s another question that has to be posed too: If Griffith pulls a 180 as they both destroy the Godhand, only to leave the two standing, Guts and Griffith, for the final showdown, that’s an unknown variable, another question that might be answered. Another idea is perfectly clear: If Griffith in that final moment kills all the Godhand and raises his knights to GodHand status? Hopefully, it is the long suspicion confirmed, but the nature of Berserk is still rooted in the world of a sacrifice, and Void’s sacrifice is still one tale that we might yet not know. As all the Godhand are left for speculation, as always. And is the Idea of Evil showing himself to Guts now because the tide of the final battle is turning? All good questions that will be answered in time. 

            Rating: 10 out of 5 

Sources: 

https://readberserk.com/chapter/berserk-chapter-362/