Been re-watching & reading Berserk lately & needed to draw Casca đ
Guts will be next đ. Then Griffith.
@yesgabsstuff said: I think that Berserkâs
central conflict at least during the Golden Age is how you plan on
dealing with your shit? All of them (Casca included) minimize or reframe
what happened to them. Guts absolutely lashes out at others to deal
with his anger but they are impersonal others and itâs done in a, dare I
say, socially acceptable way so it doesnât feel abusive. He isolates
himself. Casca throws herself into being hyper competent and into her
relationships so that she can keep a fear that would freeze her to the spot at bay. Griffith
has his dream and in case of emergencies, self destructive behavior.
That is of course until he decides to manage his helplessness by
actually becoming an abuser himself. Guts of course teeters on the edge
of this coping style too. Itâs very interesting
I donât really have anything to add to this but itâs basically perfect. I love your character insights so much. Like, damn, that bit about Guts lashing out but he (mostly) gets away with it because heâs a mercinary and later his war is with monsters. Thatâs so spot on and something I never wouldâve thought of.
And now that you mention this about coping, it occurs to me that all the parallels he has to Griffith during the Black Swordsman arc that I noticed are in how they respectively respond to trauma. They both deny feelings of guilt, they both physically scratch themselves, they both suggest that a young dead soldier died happy, they both single-mindedly pursue a goal.
Time to finally lay out my thoughts on these parallels and contrasts between Gambino, Griffith and Femto/NeoGriff.
Ok so starting with Human Golden Age 100% Certified Organic Griffith, even tho the parallels start off strong in the Black Swordsman arc, whatever, weâll go chronologically.
I love all of this. And can I say that the whole thing with his flashback and Casca and him saying sorry to Gambino broke my heart? It hurt so much that he felt any guilt about it. If I remember correctly Casca at first says something like; âAnd he assaulted you?â And Guts is like; âNo. Yes? I killed him. I killed my father.â That whole thing just broke my heart and the fact that we know that itâs what they have in common that tears them apart hurts to think about. I wonder if Guts reminded Griffith of anyone?
Oh maaan yeah that exchange is so good and sad. Verbatim (bc I have the page handy and I absolutely love this dialogue) itâs:
âGambino assaulted you… so you killed him?â âNo! Gambino was different! I never meant to kill him! He took me in when I was a baby and almost dead. He taught me the sword. So why…?! Whyâd he sell me out to that pig-bastard?â
which is just so heartbreaking. Then itâs a page later that he tells her how he accidentally killed him and finishes with, âIâm sorry… Gambino. Father…â
And good question. You have to wonder, with Griffithâs love at first sight thing, what it was about Guts that had him so entranced from the start. He talks about his tenacious âthrowing himself into danger and then fighting to surviveâ fighting style, but it does make you wonder if thatâs all there is to it. If Griffith had slowly grown to love Guts i think i could fully understand why, but dude was fixated and risking his life for him from the very beginning.
yk now that i think about it, itâs worth pointing out that the apostle/sacrifice relationship first and most directly compared to griffith and gutsâ is also the only sacrifice of a romantic partner weâre told about. the others are parent/child, the abstract concept of âthe world,â and a city.
Time to finally lay out my thoughts on these parallels and contrasts between Gambino, Griffith and Femto/NeoGriff.
Ok so starting with Human Golden Age 100% Certified Organic Griffith, even tho the parallels start off strong in the Black Swordsman arc, whatever, weâll go chronologically.
Griffith is everything Gambino never was, but that Guts needed him to be. Dude has daddy issues, letâs be real here, and Griffith was a bigger, better, brighter Gambino who actually loved him. Who risked his life to save him and didnât even have a reason. To Gambino he was p much only worth the money he brought in, but to Griffith he was worth risking his life for, for no reason or reward at all. Griffith in turn is similar to Gambino in that heâs a mercinary leader with a hold over Guts, but heâs otherwise superior in every way. More noble than Gambino in that heâs driven by ideals rather than money, has greater ambitions, greater skill, better manners, better morals, etc.
He was another person Guts respected, admired, and looked up to, and another person who Guts desperately wanted to have look at him, with some v explicit comparisons drawn by the manga:
After the Zodd debacle but before the Promrose Hall speech is a period of just about limitless potential for them. Guts accepts that Griffith loves him, or at least feels some kind of strong emotions for him – he recognizes the significance of the words âfor your sakeâ here – and returns the sentiment by pledging his sword to him.
I donât know if this is the answer I was searching for or not… but for now… For now Iâll wield my sword. For his sake.
Look at that – recalling the night he killed Gambino just before he pledges his sword to Griffith. Replacing one man with a new, vastly improved version.
This is also why the Promrose Hall speech hits him so hard, imo. Because for a brief period here Guts knew some extent of Griffithâs feelings, and the speech ripped that knowledge away and made him feel insignificant in Griffithâs eyes. We the audience know perfectly well that Griffith is head over heels regardless of the speech, but all Guts knows is he isnât seen as Griffithâs friend/equal and he desperately wants to be. Because he needs him to be that better version of Gambino who actually loves him, not Gambino all over again.
Of course unlike Gambino, Gutsâ perception of Griffith is based on a misconception, likely fueled and heightened by his own issues. Guts doesnât get to see Griffith crash and burn when he leaves and then contemplate how brightly he shines within him, even compared to his castle, but we do.
Anyway so Guts inadvertantly breaks everything, fast forward a year and Griffith, like Gambino was for a time, is now disabled and dependant and really fucked up about it. Like Gambino he blames Guts, though unlike Gambino he still loves and almost immediately forgives Guts, and also unlike Gambino Griffithâs state actually is in part because of Guts (ofc you canât blame Guts for Griffithâs own shitty decision-making, but you also canât dismiss the fact that Guts leaving without explanation caused Griffith to have a breakdown lol). And, finally, like Gambino, this culminates in lashing out at Guts.
Gambino irrationally blames Guts for the death of his lover and all his bad luck since, Griffith blames Guts for making him fall in love with him (âonly you made me forget my dream.â). Very different reasons, very similar result.
Now, and this isnât a direct parallel imo but itâs one that I feel may be somewhat suggested, Guts blames himself for both Gambinoâs death, and Griffithâs âdeath.â
Gambino was a terrible person who Guts killed accidentally in self defense, and he still has serious guilt issues because of it. When he has a flashback his panicky explanation to Casca ends with him crying and saying, âIâm sorry Gambino. Father…â Guts acknowledges and understands that Gambino betrayed him but that doesnât make his feelings about him simple, and it doesnât lessen his guilt.
I think this is also a large part of the reason Guts takes ages to stop hacking at Femtoâs egg and trying to save Griffith after âI sacrifice.â Because he does blame himself. And even after he admits to himself that Griffith did betray him, this is how he looks back before leaving and fighting more monsters:
Anyway this brings me to Femto I guess.
In a way the Black Swordsman arc is a version of Gutsâ missing years between Gambino and the Hawks: cursed and a bad omen, but now very literally because he draws evil spirits who kill people who get too close. âYou should have died eleven years ago beneath your motherâs corpse!â = you shouldâve died when you were sacrificed during the Eclipse.
Routine fighting to survive vs literally fighting every night to survive thanks to the brand.
Continuing on after killing Gambino vs continuing on after Griffith becomes Femto, with hints of survivorâs guilt all around, and strong visual comparisons:
But the real parallels are in how he responds to Femto.
Guts still craves acknowledgement.
His first reaction isnât raaaagh Iâll kill you, thatâs what he does after Femto dismisses him to focus on the issue at hand. His first reaction is hurt followed by, straight up, a need to be acknowledged. This scene starts with Guts basically fighting for attention, powering through his attack on Femto while the rest of the Godhand cheers him on until Femto knocks him into a wall and they move on to the Countâs backstory. Void even tries to get them back on track and then has his â…okay ANYWAYâ moment lmao (Enough of the sideshow.)
Same thing happens when he meets NeoGriff for the first time. His initial reaction isnât to swing his sword at him, itâs to let Rickert hold him back while he pleads for him to acknowledge his betrayal (which, as this post points out, is similar to his morning confrontation with Gambino).
In fact, thereâs a pretty interesting contrast drawn just in the Gambino
chapters – when Gambino lashes out and gives him the scar on the bridge
of Gutsâ nose, he admits he mightâve been a dick and gives Guts
medicine for it. âPerhaps it was for no other reason than to soothe his
guilty conscience.â When Gambino sells him to Donovan, he doesnât even acknowledge what he did let alone regret it, and even throws it in Gutsâ face to hurt him a couple years later.
But this comes back after Gutsâ flashback.
Despite just violently reliving the worst thing Gambino did to him, the last thing he thinks of is his seemingly contradictory mild kindness.
NeoGriffith never gives him the regret he wants him to feel either. But despite that:
My point is that Gutsâ feelings are just as complex towards Femto/NeoGriffith as they are towards Gambino. He feels betrayal and rage, but also inadequacy, guilt, and a continuing desire to be looked at and acknowledged. Heâs still driven by a v basic need to make Gambino proud – it transferred to Griffith during the Golden Age, and now itâs still there, complicating his hatred.
Which ties into the larger themes of Berserk, the good and evil in the heart of humanity. Gambino demonstrates this subtly – heâs a dick who shows just enough complexity and v mild compassion for Guts to crave more kindness from him. Heâs very human in a very negative way. Griffith is the larger-than-life fantasy equivalent, who starts out as a positive version of Gambino – loves and is interested in Guts, behaves selflessly for him, is admirable in a fantasy-hero kind of way, etc – and literally transforms into a personification of evil, becoming a more heightened version of all the negative humanity in Gambino.
Was I the only one who thought they might actually kiss in this scene the First time you ever saw/ read it? Because I did . I was ready to react. I was about to go on all those sites and say. â YOU THOUGHT YOU COULD FOOL ME INTO THINKING THIS WAS NOT GAY. I WAS NOT FOOLED. I ALWAYS KNEW!! â
But it never happened.
And I was like âohâ as I calmly shut the page Iâd just opened to rant and go nuts on.
So, I thought Griffith would go for a kiss after taking Gutsâ face in his hand and saying he belonged to him forever and ever. This scene also is a good place for it.
If this were a man and a woman everyone and their mother would be making gif sets of this and saying how they were so close to kissing after having the âwhat is this relationshipâ talk only to be interrupted by the plot. They would be doing this even if they never verbally said their feelings and everyone would accept it as a fact because straight people.
i never thought theyâd kiss because I never expect anything I really want to happen lol. but like, this scene is as romantic as you can get without a kiss. if one of them was a woman people would call you delusional for suggesting their feelings are platonic lmao, like:
gentle breeze wafting griffithâs long hair across his face? check declaration of feelings while looking away followed by a turn and hard eye contact? check awkward, surprised response? check inconvenient interruption? checkmate
going back to the manga but you cannot look at these panels and then tell me with a straight face that weâre supposed to think their feelings are brotherly or whatever:
and yk what while iâm on this and since yesgabsstuff brought up the duel, you donât have your characters ask each other if theyâre gay, fail to confirm or deny, and say things like, âif you win you can have my sword or my ass,â if youâre not trying to point the audience in a certain direction.
itâs subtext, but itâs like, Merry Christmas Mr Lawrence style subtext, where itâs not just a nice bonus if u recognize the symbolism or the gay audience reaching bc weâre desperate, but itâs the clear intended reading.
In fact, Iâll go one further – the very first parallel we have for Guts and Griffith, the first example weâre given to contextualize the mysterious, intense relationship between Guts and Griffith/Femto and the nature of the sacrifice – which we already know is what happened between them – is the Count and his wife. âThe person you loved the most and hated the most!â Cue that shot of Femto looking slightly over his shoulder so there can be no doubt who also buried his fragile human heart.
(like i just re-read this scene and i love it so much because everything leading up to these panels exists to make the audience go âwhat the fuck is their deal?â like puck even directly asks “what happened between those two?â And then we get the Countâs story and itâs like, ohhh ok i guess they were in love at one point and then betrayal and despair followed and now oneâs a demon and oneâs really pissed off. gotcha. And then nothing in the golden age disabuses you of that notion.)
(ps âThatâs right… you couldnât do it. You couldnât cut away half of yourself.â The Godhand to the Count. â[…]And that unkingly half of yours shall all be gathered then in that place.â Skull Knight to Guts.)
So first of all I want to say I donât want to step on anyoneâs feet, please respect my opinion and Iâll respect yours. Youâre welcome to discuss this matter with me though, Iâm always open to new ideas.Â
Okay, so what Iâve been thinking about for a little while now was that someone said that Charlotteâs âobsessionâ with Griffith is creepy. I was asking myself, is she really obsessed or are we missing something hereâŚ?Â
You guys remember when Guts was sold to Donovan, and Donovan told him that his adoptive father Gambino sold him out. Guts went to Gambino the next day to see if it was true and Gambino was just like âwhat up, fam?â So Guts didnât believe that Gambino sold him out because he was like Gambino wouldnât be acting this chill if he did. And then it turns out Gambino did sell him out.
Itâs reminded me of that seen where Griffith and Guts meet at the band of the Hawk memorial grave that Rickert made. And Guts was like how dare you and Griffith was acting like it was no big deal like he hadnât done anything wrong, Like everything was good. Do you think that Guts may on top of the pain of losing his band was like this is Gambino situation all over again and is questioning everything he ever had with Griffith.
Like itâs not just me right? This is definitely some kind of parallel, also while were on the subject, Jesus guts canât catch a break for nothing in this world goddamn.
(contd) snuffed out (ironically so considering shes the one who doesnt know theyre related). basically: do you think that serpico and farnese are still reespectively knowingly and unknowingly incesting lmao?
Thatâs a pretty solid observation to be honest.
HmmâŚI personally donât think they are presently mutually incesting exactly. Because as you said Farneseâs interests have since shifted from the moment she ran into his arms as a teenager.
I think Farnese seeking out relationships had been for the longest time a way for her to find a meaning to herself and her own identity. Serpico was the first person in her life who seemed to have some sort of permanence in her life ( contrast with her ever absent parents and frequently changing maids and caretakers) and she was afraid of losing that and wanted to secure it.
I donât think her offering herself naked to Serpico had anything to do with romantic attraction to him, she was rather using it as a bargaining chip to try and convince him to stay.(Stay with her and leave with her) Farnese is aware that she is hard to be around, she has scared off scores of people before, and sheâs aware that she has since treated Serpico in less than kind ways, maybe because she wanted to test if he too, like everyone else would eventually leave.
But now that he hasnât, she realises she doesnât want him to. And she wants to give him an incentive to stay. Offering sex is her way of saying âhere, this has something in it for you too.â
Sheâs using it as currency and it takes her a significant swallowing of pride in order to do so. So having Serpico reject her point blanc is a huge blow to both her desire of finally being free of her current lifestyle as well as the sense of power she had temporarily felt at the prospect of being able to secure him by using something that was hers to give.
I am not sure how far you are currently into the manga so I donât want to talk about future events but let me know if thereâs any other part which youâd like me to talk about with respect to Farnese specifically?
But I always read Farneseâs feelings towards serpico as dependence and affection but not as attraction. I feel what she draws from Serpico has almost always been comfort and security and she herself doesnât necessarily want more from him but was willing to indulge in more if it allowed here to secure the comfort she derived from him.
Of course it is possible that now that her relying on Serpico for security has lessened to an extent, her feelings could morph but the current narrative has her pretty occupied with other relationships- Guts, Roderick, Casca and as of now I donât think her feelings for Serpico have been given a chance to morph Except for the fact that her affection and concern is now manifested in more healthy ways .
Serpico though, is a whole different ballgame.
Serpico owes his identity to his relation to Farnese. Itâs difficult to tell what his feelings are unless he himself spells it out for us and the one thing that is clear to us is that whatever his feelings for Farnese are- they are intense as hell.
In Serpicoâs mind, his life is irrevocably entangled with Farneseâs. And he himself hasnât quite let go of the childhood imagery they had of them both being damaged, twisted people who inevitable ended up twisting and entangling together.
And while he realises that Farnese has since grown, untwisted. He himself feels left alone and is trying his best to keep up  but at the same time forcing himself to hold back and let Farnese take the decisions, she needs to take. Because once again Serpicoâs self image is to do with being the provider of what Farnese needs. Serpico changes as Farneseâs requirements of him change. And yes I think your observations about Serpicoâs lingering feelings is interesting because I donât think itâs the knowledge of them being half-siblings that stopped Serpico in the woods when Farnese approached him ( they were already to self-confessed twisted for that to be that big a deal in the atmosphere that had been set up at that point) Rather I think it was the knowledge that this wasnât what Farnese truly needed at that point which stopped him., heâd seen through her plot, heâd noticed her trembling and Serpico models his actions on Farneseâs wants we never even see his own. There is no doubt in my mind that if Farnese had ever truly wanted to start a sexual relationship with him, he would have obliged.Â
Would he have wanted to?
The Godhand knows.
Maybe.
I sure as hell donât.
@gatsca said: I LOVE the âdid you get so caught up in
the moment that you didnât think about the consequences?â with things
golden age guts said, ie like, not realizing where it was he belonged?
as well as like, basically everything that went down in the golden age.
they were all so young. Â god
yesss that was exactly my first thought when i got to that panel too. i love that he calls the flower spirit a âkidâ because guts really was. (but hey that gives me hope that heâs going to continue to mature out of it)
Thereâs definitely some moments between Farnese and Serpico  which personally appear to me as echoes of golden age dynamics between Guts and Griffith, the wording in some cases seeming similar enough to almost  seem like an intentional parallel.
But the parallels are also not extremely consistent ,especially in the frequent exchanging of the respective roles within the dynamic between Farnese and Serpico. In some cases itâs almost more of a twisting around of the original than a parallel. Taking into account that despite the similarities that I will go into in a moment, these are four very distinct characters.
The instance which immediately comes to mind when you say parallel is the instance when Farnese asks Serpico if he hates her. Itâs very similar to Griffthâs-Â âYou must think me vile.â moment.
Thereâs some other Farnese- Griffith parallels.
1. Using Control over specific people to deal with their feelings of loneliness or helplessness. Referring to Serpico/ Guts as property is a big part of this ,as is the fact that despite saying it neither of them actually mean it.
2. Farnese/Griffith starting as the commander, owner.
3.Self-flagellation
4. Guts love.
5.Thereâs actually some deeper things which I will come back to most probably.
6. A slight similarity in visual design.
7. Oh and them being turned on by very fucked up things and having some rather strange interpretations of sexuality and ending up in bizarre sexual situations.
the Guts-Serpico parallels come from them both being the concerned right  hand men to these slightly volatile people.
thereâs Griffith and Serpico parallels in this sort of veiled intensity and ruthlessness behind a calm facade. not to mention similar fighting styles.
And the fact that both of them are very single mindedly focussed on their goals which if interfered with make them prone to homicide. With Griffth it was the castle ( or so he thought) with serpico itâs protecting Farnese (or so he thinks)
and the Guts and Farnese parallel in that both of them start with being unsure of what their place is in the world and start to try the road to discovering themselves .
With Farnese/Griffith parallels I could also see a potential argument that they both rely on extreme adherence to a conviction as a defense mechanism. With Farnese it was her religion, with Griffith itâs his dream. I wonder if seeing the origins of how Farnese found her conviction could actually shed light on how Griffith came to hold the dream above all else tbh. yk, fear and wanting to become whatâs feared. but thatâs just un-backed-up speculation.
(also for point 7: what âvery fucked up thingsâ are you referring to that turn Griffith on? is that more of a Femto reference or am I completely forgetting something?)
Actually that Farnese/ Griffith parallel makes perfect sense. It seems very fitting and plausible.
Oh yeah,regarding point 7, I think I discussed this with someone before and came to the conclusion that it could be a very subjective interpretation I made of a certain translation of the manga and at this point I donât remember if it was the Darkhorse translation or another one but the conclusion hit me so hard at the time- it kind of stuck.
Itâs actually during the Golden age arc, during the Griffith-Charlotte scene, in the version I read Griffith asks Charlotte if sheâs scared and when she doesnât reply verbally he says- âSad thingsâŚscary thingsâŚif these things can arouse you then-â and trails off in true Griffith fashion.
but of course heâs saying it with that distracted stare which Griffith uses when heâs actually talking to himself .
And idk really, my first reaction was- okay thatâsâŚouch.
And I later thought about it and realised it might not necessarily be the right interpretation. But it was warped enough to be an idea i forgot to let go of.
And then when weâre talking about Grifith and sex, itâs hard not to touch upon the Gennon angle. And itâs not that I think Griffith was in any was aroused by that interaction, I just think that from what we know that was most probably Griffithâs first sexual experience and somehow the connection between fear, unpleasantness, sorrow and sexuality may have been made then and stuck.
It would explain the nature of Griffithâs later sexual encounters a little too. The fact that he sees these things as innately linked. And sex for Griffith is intrinsically associated with otherwise unpleasant emotions.
The first experience colouring future interactions aspect is brought up with Guts as well , with him choking Casca as they made love.
Thereâs actually also a connection I feel between sex and vulnerability, giving up or letting go . Any sort of extreme emotional âleakâ has always been followed up with a sexual encounter in Griffithâs narrative. Whether it was the death of the boy soldier, Guts leaving then the ultimate emotional out pour of the eclipse.
ooooh, yk even if that is based on a mistranslation (bc yeah the dark horse version is just âcast all those sad and frightening things into the fireâ p much) it totally integrates into both berserkâs take on sexuality and internal darkness and it really does fit griffith as a character.
it could basically function the same way as the actual translation, ie as a description of emotional denial, except where âcast them into the fireâ suggests burying feelings and ignoring them, your take suggests taking those negative feelings and transforming them into something useful. which is so eclipse.
so like even if thatâs relegated to headcanon, I love it and imo it really works.
Oh I meant to reply to this so long ago, but I completely forgot.
So about that story. I donât remember the details very clearly, Iâll try to correct myself later if i get some things wrong but I thought it was pretty interesting Iâll try to link the interview if I can find it.
Also I usually try not speculate about the personal lives of real people because it seems a little invasive and potentially harmful to me.
But Kentaro Miura and his Griffith-friend had a little bit of a mutual obsession it appeared to me. Like a little bit.
So in a nutshell this Friend was with him in art school, very good in academics, was most probably a scholarship student and pretty good looking and popular with the girls (miuraâs words not mine). But had this tendency to get into a lot of fights and sometimes seemed to seek fights out. Miura talks about how his one passionate dream was to be a manga artist and he was dedicated and really disciplined and heâd practice all the time he could find between school and two part time jobs and Miura was generally quite in awe of all this and didnât quite know how they ended up as friends because Miura himself felt the only thing he was good at was art (humble little cupcake) and he was socially awkward af.
But anyway,. this friend would seek Miura out after school and ask to practice together, theyâd draw for a while then the friend would leave for his jobs and then theyâd meet again at school in the morning.
But over time Miura started to notice that his friend had started to get frustrated with the status of his art and seemed to be getting tired and over-worked in general. Especially because he seemed to be becoming insecure about how good Miuraâs art was compared to his own and heâd started doubting if heâd actually be able to become a manga artist when someone so much better existed. Theyâd have their sessions less frequently, they became distant, his friend started getting into more brawls and fights
then he got scouted by a publishing company as an illustrator, dropped out of school and moved to a bigger city and Miura lost contact with him.
Mostly they heard of him again through other sources. It was a well paying job, and his friend had started a sort of party lifestyle. Heâd go out a lot, drink a lot, other things and had a shit ton of hookups with a lot of people.
and thatâs all Miura knew until he got a late night drunk call where this guy ranted at him, told him this was all his fault, fuck you and your art, it sucks and basically was a huge mess and cried a lot and it was pretty evident he wasnât actually happy. and then hung up before Miura could say much.
Then years years later Miura got a call again from the same friend who apologised for whatever he had said and didnât actually remember. Confessed that heâs actually read all of Miuraâs work and owned copies of all the current volumes and loved it.
And told him that he was planning to leave the illustration and publishing work and start from scratch as a manga author.
And the dude is currently a published author.
And they are friends again now.
yeah.
That wasnât a nutshell.
Berserk Spoilers? :â)
Griffith drunk-calling Guts  would be fucking fantastic tbh.
ty for telling the story! i vaguely knew like, the basics of miura had an ambitious friend who eventually ended up quitting his impressive job and becoming a mangaka, but all the details are new and interesting to me.
also lmao @ the addition, i need. if this real life backstory just adds slightly more weight to the possibility of some inner turmoil for griffith iâll take it.
yeah iâve seen variations on that theory before and i def donât buy it. iâve always figured neogriffith is simultaneously the hawk of darkness and the hawk of light. revealing that guts is the real hawk of light and turning it into a darkness vs light thing sounds way too simplistic for berserk lol.
Well, as for Farnese and Casca I do like their relationship and in theory those two are perfectly suited for each other (if we want to analyse their characterizations, but I also think theyâre hot together even without complicate reasoning đ ). But⌠I generally feel involved with things that have more background. Farnese somehow showed interest in Guts, that is NOT LOVE obviously and that still perplexes me. I donât particularly like love triangles and thier pallid imitations just because the plot needs more âspicy thingsâ. The thought of Farnese and Guts doesnât make sense and is also undermining for Farneseâs growth. Guts is a symbol, a sparkle that Farnese needed in order to break free from her old life. He canât be anything more, but still, in one of the latest chapters, Farnese got angry at Casca because of Gutsâ âman painâ for her. I donât get this, just like I donât get Roderickâs permanence. As for Serpico, I agree that heâs really dependant on Farnese, but they grew up like that, like plants in the dark intertwining each other in their desperate seek for light. Serpico had the only purpose of protecting Farnese, because he didnât knew anything else. Lately heâs showing more emotions and his journey with Gutsâ party is giving him a life filled with new experiences. So⌠I guess heâs changing too, even if we donât see clearly what he feels (Farneseâs growing process is central right now so it gets a much detailed description). I donât know, Iâm probably biased because I love Farnese and Serpico together in all their creepiness đ This leads me to the second main point⌠I love Griffithâs side a lot too, but Gutsâ quest is getting duller and some plot points donât really make sense to me. Random characters popping out, pirates, sirens, useless brothers, useless and excessive comedy⌠So, what Iâd like to see? Roderick and Magnifico vanishing into thin air, Casca regaining her sanity, but choosing to be free, thus separating herself from the group, maybe with Farnese and Serpico. Guts needs to master his power, so Shierke is fundamental (I like her tbh). I also want a time skip due to the influx of Elfhem. I wonder if Griffith is still subjected to the aging process and if he can have ânormalâ children. I want his wedding with charlotte also⌠I really want SOMETHING to happen, just like you also said.
Iâm late as always đ ! I found really interesting the parallel you mentioned between cascaâs devotion for Griffith and Farneseâs relationship with Guts. Iâve never really thought about it and what you said makes perfectly sense. Farnese remarked with her own words that she doesnât actually love Guts, but her reaction with Casca somehow irritated me because it was unexpected and also not so plausible. Thanks to your addition I remembered Cascaâs ambiguity and conflicted feelings when she started to love Guts. She was stuck between Griffithâs unwavering admiration and a strong desire for Guts; these two states of mind occasionally jumped back and forth even in the same day! So I revaluated my opinion about Farnese. Guts is a turning point for her, heâs a light shining in the muddle of all her fears and it is completely understandable that she feels confused about the intensity and the true dimension of her attachment. This situation actually is very realistic. As for Sonia and Shierke, Sonia clearly said they are going to meet again in the future; also their situations are highly similar, so I wouldnât be surprised if they were to join the same side at some point, being it Griffithâs or Gutsâ. If the hypothesis of a war between the god hand members comes true, it is even possible that Guts and Griffith would be together themselves, creating a brand new party. Well⌠I know this is an ideal situation, but I canât stand Guts and Griffith hating each other forever (or at least Guts hating Griffith). Casca is the key to change the current balance of things, so Iâd really like her being free to grow alone, without other people telling her how she SHOULD feel. I want women to be more independent and relevant, because at the moment we have few female characters and basically every one of them is devoted to a main male character.
Oop yeah the parallel was explicitly mentioned in the latest chapter, so sorry if i spoiled that bit for you. Itâs pretty minor all things considered, but I also found it really eye-opening.
But god yeah Berserk and its female characters is not the greatest. I really like p much all of them personality-wise, but youâre right, like every single secondary female character is devoted to a dude and it sucks. You have to dig deep into the really minor characters to find women whose lives donât revolve around men (like, freaking Anna lmao). Letâs all cross our fingers for Casca becoming an independent character soon (with bonus Farnese and Schierke growing out of their crushes if weâre even luckier). I mean ngl Iâm kind of pessimistic on this point, but you never know.
Honestly I would love a sort of enemies-turned-allies-fighting-someone-worse plot. The way lines are blurring – honourable and tamed apostles, Sonia and Schierkeâs brief but meaningful friendship, Guts teaming up with apostles to fight Ganeshka, Gutsâ own inner demon, etc – Iâm almost thinking Griffithâs posse and Gutsâ posse are more likely to join up at some point than destroy each other.
Actual reconciliation for me would really depend on what NeoGriffith even is. Like, if heâs Femto in a person suit, then I donât really want it to happen. Miura might consider him morally ambiguous even after the eclipse but Iâd have to personally draw a line at letting bygones be bygones if heâs still essentially Femto (give or take maybe a ~moment~ as one of them dies). But if heâs fundamentally changed once again and is more like, say, Griffith with all the good AND evil removed, leaving a weird serene husk, then Iâd be rly interested.
Do you wanna know who I hope Casca is wanting to see? Herself. I want her to see how strong of a woman she is, I want her to see how powerful she can be, I want her to see herself in true form. I hope up there waiting for her is an even stronger version of her previous self. I hope that she does what is best for her, not Guts, not Farnese, not anyone else but her. I hope she comes back full force and falls in love with herself for the first time. I just really hope good things happen to this poor girl. But Iâm probably asking for too much.
Thereâs definitely some moments between Farnese and Serpico  which personally appear to me as echoes of golden age dynamics between Guts and Griffith, the wording in some cases seeming similar enough to almost  seem like an intentional parallel.
But the parallels are also not extremely consistent ,especially in the frequent exchanging of the respective roles within the dynamic between Farnese and Serpico. In some cases itâs almost more of a twisting around of the original than a parallel. Taking into account that despite the similarities that I will go into in a moment, these are four very distinct characters.
The instance which immediately comes to mind when you say parallel is the instance when Farnese asks Serpico if he hates her. Itâs very similar to Griffthâs-Â âYou must think me vile.â moment.
Thereâs some other Farnese- Griffith parallels.
1. Using Control over specific people to deal with their feelings of loneliness or helplessness. Referring to Serpico/ Guts as property is a big part of this ,as is the fact that despite saying it neither of them actually mean it.
2. Farnese/Griffith starting as the commander, owner.
3.Self-flagellation
4. Guts love.
5.Thereâs actually some deeper things which I will come back to most probably.
6. A slight similarity in visual design.
7. Oh and them being turned on by very fucked up things and having some rather strange interpretations of sexuality and ending up in bizarre sexual situations.
the Guts-Serpico parallels come from them both being the concerned right  hand men to these slightly volatile people.
thereâs Griffith and Serpico parallels in this sort of veiled intensity and ruthlessness behind a calm facade. not to mention similar fighting styles.
And the fact that both of them are very single mindedly focussed on their goals which if interfered with make them prone to homicide. With Griffth it was the castle ( or so he thought) with serpico itâs protecting Farnese (or so he thinks)
and the Guts and Farnese parallel in that both of them start with being unsure of what their place is in the world and start to try the road to discovering themselves .
With Farnese/Griffith parallels I could also see a potential argument that they both rely on extreme adherence to a conviction as a defense mechanism. With Farnese it was her religion, with Griffith itâs his dream. I wonder if seeing the origins of how Farnese found her conviction could actually shed light on how Griffith came to hold the dream above all else tbh. yk, fear and wanting to become whatâs feared. but thatâs just un-backed-up speculation.
(also for point 7: what âvery fucked up thingsâ are you referring to that turn Griffith on? is that more of a Femto reference or am I completely forgetting something?)
but i see you are almost to gut’s flashback chapters which i love- this
showed that despite all the shit guts went through, he still has a kind
heart, especially towards kids(as we see with isdoro,rickert,erica,jill
and schierke). The art is very good and very nice to look at. all in all
this arc is short but i think adds a little bit more to guts as a
character. idk i just love itÂ
re: the sea god stuff, yeah thatâs fair, iâm not into guts myself but i can see the appeal, esp with that streak of white in his hair lol. and I do love the astral plane werewolf look.
and yesss honestly iâve never wanted to hug a character more than teenage guts when he was determined to save that damn flower, omg.
@jyuanka said: i think itâs about guts stacking up allies, in this case, the sirens
yeah good point. plus it does straightforwardly depict some changes brought about by griffith breaking the world and how itâs not just branded sacrifices who have to deal with all this crap now.
itâs just so loooong lol
@mastermistressofdesire said:
Oscar is pretty
explicitly bisexual in canon, at least it appeared pretty explicit to me
while watching it. But then again I tend to read characters as gayer
than a lot of other people do. But RoV is gaaaaaayÂ
nice nice nice. i also read characters as gayer than most other people do so this will probably work for me.
@captainfinishingmove said: âŚBut Guts was sexually abused as a child. Thatâs why he doesnât like being touched
iâm not sure if this is a reply to me directly or one of the comments on that post, but i did say âneither sexually assaulted the otherâ not neither were sexually assaulted period.
Catch me writin berserk fanfic where the behelit is for theresia
Okay but rlly guts got it from her dad, her life mission is to kill guts, whats gonna happen when shes trained for years and hunted this man down and finds herself unable?? behelit slips out from gutss pocket somehow, wow, what an accident, whoops, what- It wouldnt actually go well for her bc like guts is much better at killing apostles than he is girls but he already failed to actually land a killing blow on rosine⌠so like⌠imagine the summed emotional toll
 @jyuankaÂ
said: a part of me wants
roderick to play a bigger role and help move the plot forward through
being a good character but the other part of me wants him to become an
asshole or to have some hidden secret (i mean we all know what pretty
boys in this series turn out to be *cough* griffith *cough*)
i didnât really think of it before but we never found out what his schemy plan with magnifico was, did we?
so you might be onto something.
To be honest I donât want Roderick to be a fake nice guy, but at the same timeâŚ
Is it me or does he sound kinda annoyed by Farneseâs antics?
hmmmmm
tbh roderick being a fake nice guy and fucking with farneseâs feelings for personal gain or whatever could be a little trite, but ngl iâm down for just about anything that points to more future reactions and character growth for farnese. (not that sheâs been short of that, just that i love it so much and i want her to keep being an important evolving character for as long as possible)