Guts and griffith relationship marketing

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guts and griffith relationship marketing

it is necessary to first understand Guts, and his relationship with Griffith. Why did Guts' departure affect Griffith so deeply, to the point that he. The relationships among the three characters, Guts, Casca, and Griffith, are often the point of focus in the Berserk films. Themes of love. Interviewer: Berserk has currently been published up to Vol. For the relationship between Guts and Griffith, I'm using myself and my close friend and my work to please Japanese people, I don't have any strategy for the global market.

And then the Hound tells Guts to rape Casca so he can get closer to Griffith and I throw up my hands. The earlier parallels I described, Guts comparing leaving Griffith and leaving Casca, etc, draw an emotional connection between Guts and Griffith through Casca as, essentially, a bridge. Guts is assuaging his desire to go back and fix his mistakes by replacing Griffith with Casca and refusing to leave her. This chapter draws a very direct sexual connection between Guts and Griffith through Casca as a bridge.

By raping the woman Femto raped, Guts can get closer to him. And it is, of course, not the first time the manga has done this. I feel like the stare the fucking stare omg speaks for itself. Ultimately my main takeaway here is that Berserk would be about x less fucked up and offensive if Guts and Griffith just cut out the middlewoman and fucked each other. So what about pre-Eclipse? Does the same principle hold true then, back when Casca was an actual character and not just a plot device and projection screen for Guts?

And I would argue that it does. Their first emotionally intimate scene together, when they finally stop hating each other and start to bond as friends, is when Casca tells Guts her backstory, which happens to be almost entirely about Griffith. Finally, right before Guts leaves, Judeau introduces him to the concept of hooking up with Casca.

During the course of this conversation Guts does a kind of There are three possible explanations for this behaviour: Guts just wants to be a good bro and help his friends be happy together. Guts is sublimating his unconscious desire for Casca into trying to hook her up with Griffith. Guts is sublimating his unconscious desire for Griffith into trying to hook him up with Casca. And, just to throw something out there, once we establish that Berserk has subtextual, repressed sexual desire in this love triangle it only adds more validation to the other combinations.

Even if we are genuinely meant to read Guts as unknowingly attracted to Casca, it puts unknowing attraction on the table. Who else might he be unknowingly attracted to? Casca also apparently took some time to recognize her feelings for Griffith as potentially romantic.

But lol I digress. After Promrose, that fades away because Guts no longer views Griffith as reachable, rather, he puts him on a pedestal. This is when Guts starts pushing them together. Feels like repression at work to me. He still intends to go back out and keep pursuing his own dream. Fast forward a year. Everyone sits down around the campfire. Rickert tries to explain things to Guts: Look what Judeau does! Judeau is… weirdly invested in Guts and Casca getting together.

Setting them up is largely his motivation in the latter half of the Golden Age, as far as I can tell. After this moment he changes the subject to: This is when Guts first starts trying to fix his mistakes by substituting Casca for Griffith, imo.

Casca attacks him while screaming that he ruined Griffith by leaving. Presented with another person who seems to need him, who is desperate and lost and needs comfort, this time he does something. And as I mentioned a bit go, this was the heyday of Hollywood films, so live-action was the entertainment king. They didn't have CG like they do today, so in both The Terminator and RoboCop, people were trying as hard as they could to act like machines. They had that sense of using physical acting to portray a superhuman, so I started out with the live-action ideas of if there really was a person with a big sword, how much muscle would he need, and if he swung it, what would that action be like?

And that would be how Guts' appearance came about. At first there was only a bowgun attached to his one arm, handled like a concealed weapon, but the impact was weak. And his sword was originally a Japanese sword. I had the idea for an Asian guy with a Japanese sword and a gimmick on his left hand to run around in a setting like medieval Europe, but as I mulled it over, what suddenly clicked as the right ideas were the Dragon Slayer and the prosthetic arm cannon.

I think it's an interesting balance, the way it's more incredible than reality, but not so much that it demolishes reality.

For example, there's an American comics character named Captain America in the Marvel hero movies. In terms of abilities, he's a little more incredible than an Olympic athlete, making him a lot weaker than the other heroes. But when this is portrayed accurately in live-action, it really inspires you. It's real enough to be within the realm of imagination, such that it makes you wonder if you could do what he does, too, if you just trained your body hard enough.

On the other hand, if somebody can fly, you can't relate to that. I wanted to give the impression with the Dragon Slayer that someone with pro-wrestler muscles might be able to swing it once or twice. Thus did I come up with the appearance of Guts. Now, where do things progress from there? So his motivations and background came about later.

That actually is the most proper sequence. For instance, as long as Ultraman has that visual, the Spacium Ray, and you know he's from Nebula M78, the rest follows along afterwards. I think such works built from a style can run for a long time.

Berserk’s Musou Game Gets New Info And Screenshots For Guts, Griffith, Casca, And Judeau

The contents and direction change to fit the times, but a good style will be inherited and loved forever. Once Guts' style was decided, next came his interior. He's a dark hero, so revenge makes for a good motivation. And prior to the reason for his revenge, I tried to think about in what manner he'd get his revenge. Does that mean rather than delving into his mind, you thought about where things would lead?

At first I envisioned Guts as a hero who can get angry. I focused on how to make him angry, how to make him get revenge, and how to effectively display his appearance and gimmicks, and what resulted after that struggle was the original Black Swordsman. At that point, there was no Band of the Falcon or anything [laughs].

And so the Black Swordsman's fight unfolds for two or three volumes.

"Berserk: The Golden Age" Arc Trilogy - Anime Film Review | ReelRundown

I realized with the Slug Baron that as I was making a story about Guts defeating monsters, the monsters were becoming steadily more human. When a monster's flashback scene happens, he looks like a pitiful human, and Guts on the other hand looks steadily more like a monster. Then when the monster is defeated, their feelings mingle, and that giant sword comes swinging down. It felt like some amazing catharsis!

Thus did I establish the fixed flow of the Black Swordsman, but right about that time, it was decided that Animal House — the magazine that was serializing the story — was no longer going to be published.

I was going to have to go back to square one. It's like, not now when it's just gotten going! And so, without having been noticed by society, I also had a project that Mr. Buronson had originally written, so I had to think like an editor and choose which one to continue. The usual decision would of course be to choose the name "Buronson" [laugh]. But one way or another, I just had to push for my own original work. And so the Golden Age arc was explored as a result.

No matter how fully formed the character of Guts was in my mind, this was a newcomer's manga, and it wasn't going to live up to Mr. I also like girls' manga, so I thought about changing my approach by taking from stories with sad and painful human relationships and emotions. Until then I'd been charging down the Fist of the North Star route, but that made it much harder to contend with the original himself, Mr. And as this was new ground for me, I figured maybe I could put people around me into the story, as well as memories from my youth.

You mean using the people in your daily life as models. I didn't especially have any teachers when it comes to manga, so I didn't know what was proper. I had always been under the impression that a manga artist dreams up things that don't exist in reality. So, I tried it, and realized it was proper. I was incorporating my own experiences and those close to me, so naturally there'd be feeling there and the lies would evaporate [laugh].

I think the Golden Age arc went well that way. And whenever I combine reality with imagination, I don't view my own circumstances as being all that dramatic, so I suppose I was able to strike a good balance.

I would do things like taking my high school manga buddies and dropping them into a mercenary band led by a guy who's working toward some goal. But while I'm happy that it went well, the purpose of this arc was to give Guts a reason for revenge, so it occurred to me I'd made a bunch of really great characters and they were all going to die [laugh].

You knew from the start how it was going to end. I knew the Eclipse was coming, so there truly was nowhere to run! Also, there's a reason I made the Golden Age arc as long as it was.

I felt dissatisfied with the so-called flashback scenes in a number of works. It's typical to stick flashbacks in just as a short break in order to maintain the pace of a story, but I wanted to potently feel, from the bottom of my heart, the reason for Guts' revenge and the basis of his character development.

If the flashback lasts only a short time, it runs the risk of merely amounting to information. Since I'm the one drawing it, I need to make it more of a story you can invest in emotionally But it's because this happened that Guts' anger comes through sufficiently.

I had to make something that readers would accept was enough to make anybody angry. Because of that, it came down to how dramatically and naturally I could depict Guts fully forming his precious bonds with people. For the relationship between Guts and Griffith, I'm using myself and my close friend and fellow manga artist Koji Mori Suicide Island, etc.

Which one of us is Guts and which is Griffith switches from time to time, but I think it serves as a symbol of male friendship. You put so much emotion into those characters, and when the Eclipse happens, they're all gone. That must have left some scars on you as the artist. I was emotionally invested in each character, so I felt more depressed than scarred. And the story went way down in popularity with the readers around the time of the Eclipse [laugh]. Many readers were furious that I'd do such a thing to the characters they liked.

My editor at the time was concerned but also of the opinion that we'd just have to follow it through to the end. The point I had to pay attention to was making sure the flow of the story wasn't completely severed with the Eclipse. That's why I spared Casca. If she had died and the serialization had continued for a long time, I feared the reason for revenge would become something of the past; and if Guts were to establish new relationships, then his incentive would waver.

It may seem calculating and unpleasant, but it's because Casca's by his side that he can never forget the Eclipse. Hardships of the Fantasy Genre Edit Interviewer: Had you settled on how things would develop after the Eclipse? The Golden Age arc was long, so to return to dark Guts once again I had to display the early Black Swordsman style and remind people. That's why for the Lost Children chapter, the story's style is the same as for the Slug Baron. The same is true in the respect that in the flashback scene, the monster's humanity emerges, and when he defeats her, Guts is the one who looks like a monster.

It couldn't be exactly the same, though, so I featured Rosine the oddball apostle. Lost Children also has Guts coming to accept Puck. During the dark Guts period prior to the Golden Age arc, I wasn't sure whether to go with pure fantasy or a historical tale. I looked into the eerie underside of actual European history, such as Count Dracula, and I had the idea for Guts to hunt monsters that could be framed within a factual historical context.

But once the Band of the Falcon took firm shape, fictitious country names like Midland had emerged, so the historical route went away and became fantasy. In that case, I would have to make thorough use of content typical of fantasy: Content representative of medieval Europe.

And around the time I was about to draw fantasy, there were hardly any fantasy manga in Japan. True, you didn't tend to see many traditional fantasy works amongst manga. When it comes to fantasy, even games like Dragon Quest and Final Fantasy are of a different nature than old-school foreign fantasy. Even Lord of the Rings was a novel known only to those in the know, and Guin Saga only had so many fans.

Fantasy was starting to become known via novel and games and such, but it wasn't a well-known genre at all. Boys' manga magazines of the time were filled with stories of fighting delinquents in school uniforms, and there was no room for fantasy to squeeze in.

But I still had the idea of making this the adventure of dark Guts, even if it meant taking the risk of making it a fantasy story. So you still chose the path of fantasy, but did you have some kind of assurance?

I think the fantasy look of Disney productions works all over the world, in any era. To put that world view into broad terms, it comes down to "Once upon a time, there was a Once you start tossing in countries, weapons, and proper nouns, it just gets that much more obsessive. That's why the opening apostles were the Snake Lord and Slug Baron. I didn't even given them names [laugh].

And using the Disney example, a character doesn't suddenly get tossed into a parallel world, they go to another realm that's connected to a part of the regular world, and it's there that a monster first appears.

Beauty and the Beast is usually set in the medieval world, but the mansion is the other world, and the Beast is there. It's common with today's fantasies that the setting is another world right from the start, but us old guys had to work hard for it [laugh]. In other words, Puck is one of Berserk's fantasy symbols.

How did his concept come about? For some reason there's this image that the main character of a fantasy has some small thing tagging along with them, like Pinocchio and his cricket.

It did occur to me, though, that Guts with an adorable elf might be too extreme [laugh]. And what's convenient about Puck is how nice and half-assed he is. It's been a long time since he became Chestnut Puck, but his personality is actually quite unusual.

It's because he's an elf that I think it's okay for his characterization to be vague. In Lost Children he empathizes with Jill and the others and becomes sad, and when he's with Isidro he gets cheeky, and I think that's fine.

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He's like a break for me no matter what I have him do, and if it's Puck who delivers my silly jokes, my readers are more forgiving. At this point, if I didn't have a character like him, things might have reached a point where it's too oppressive to go on.

Dark fantasy becomes easier to read when you have enough relaxed content that it doesn't ruin the mood. I figure my intuition has served me well. Something tells me keeping it from getting too dark or too heavy is one of the key things that separate popular stories from unpopular ones.

At this point I think most manga artists are aware of that, but I suppose in Berserk's case it maintained the balance by coincidence. And in my case, I feel I have a centered psychological makeup. I don't go overboard about things, but instead naturally settle into the same balance as the reader. My thinking is that what feels good to me should generally feel good to the reader, too.

That's quite a sizeable weapon to have in your arsenal, as a writer. Many manga artists make a weapon of obsessive niche knowledge, but it's not a weapon for me. The only thing I'm obsessive about is my art. Everything else I research as the need arises; but then, people research things related to their jobs, and that's not unique to the manga industry. That's the extent to which I mean. I gloss over that with my art. I have a knack for approximating something with art, and then it ends up looking profound, and that works out well [laugh].

Do you have any tricks for when you research reference materials? There's no time, so I have to choose materials that are exemplary or whatever. Researching down to the details is impossible unless you go at it using human-wave tactics. Furthermore, in my case I'm focusing more on the author's conclusions as I cursorily read a book for its theme and information.

Like, for the witch hunt in the Conviction arc, what kind of thing does the author of these materials think witch hunts were? I read two or three books for the Conviction arc, but what I learned from them was that witch hunts represented an unseen fear in the Middle Ages that people collectively embodied.

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When people experienced fear, they ended up manifesting it, and a group manifestation would turn into a witch hunt. And in this chapter, Griffith is incarnated and becomes active not as Femto, but as the Falcon of Light. Back during the original dark Guts days, I intended to make Femto his enemy thereafter. But by the time I finished the Golden Age arc, Griffith's character stood out too much, and I wanted him to fight Guts in that form.

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And in terms of the narrative, him being in the same form as before but powered up would make the course of their confrontation easier to convey. And in terms of setting, if he were Femto, he'd be acting in a different dimension. Mozgus, who was introduced around that time, is a visually interesting character. Does he hold any sentimental value for you? First of all, the movie The Name of the Rose is the inspiration for the Conviction arc.

From there I added a witch hunt, giving me the notion to depict the darker aspects of religion. There's a lot of variety within religion, but when I thought of a character who'd be the overall embodiment of religious fundamentalism, I arrived at Mozgus.

Doctrine comes first, and mankind comes after. He's a further exaggeration of that. All religions to some extent take something above and beyond the laws of reality and human thought and treat it as absolute. When you exaggerate that idea, that's what you end up with. And when I took that rigid thinking and designed it as a person, I arrived at that face with the low polygon count [laugh].

I thought, wow, this guy's a total square, and when I drew him, he came out looking like a square. Mozgus is also a comical character. Berserk makes a clear distinction between its one-off characters and those who participate in the drama of the main story thread. Characters like Mozgus, Wyald, and Adon are prime examples of one-offs. As with villains in Fist of the North Star, they're interesting and they make a strong impact.

It's long been the pattern that such characters go on their rampage and then they die. But their entourage remains. For example, Daiba and Luca are entourage characters in multiple chapters. Daiba and the others have been surprisingly active recently. That's a shared story element with Guin Saga. When the main character of that series makes his impact and then leaves the story, the characters who were around him will show up again.

The landmass this story takes place on is contiguous, and I get to wondering what happened to a given character after their involvement, so when I need a new character, I too will reintroduce old ones. Berserk has playful details like that, and no matter how many times you read through it, there are new discoveries to make. Apostles are often reintroduced as well, including the one who bit off Guts' left arm during the Eclipse. He's still working hard in the reborn Band of the Falcon [laugh].

I was originally thinking up and designing apostles on the spot, but coming up with new monsters every time isn't easy; and it'd be problematic for too many of those guys to be in the world anyway. Some of them have appeared over and over now. The Conviction Arc is Sekaikei?! Of the numerous apostles, the Egg of the Perfect World is quite different in nature.

That apostle is special.

Berserk- Analysis of Gut's and Casca's Relationship - Golden Age - Part 1

I needed to prepare something that was just right for Griffith's resurrection, and when I started the Conviction arc, what ended up being an exact fit came to mind.

The mental image of relying on God as a group took on his shape. He's the product of chance, and maybe he's also the natural outcome of the witch hunt.

List of Berserk characters

He plays a different role than the previously encountered man-eating monsters. Right about that time, the topic of NEET was coming up in society. There was this popular image of people unable to become somebody, encased in their own shells, watching the world through their computers, all alone in the dark. Everyone has a side like that to some extent when they're young, so I sympathize with them strongly. Just about everyone experiences that feeling of sitting in thir room hugging their knees, feeling anxious about the future.

It's all about being afraid. I got stuck on that concept of being some vague nothing, of becoming a vessel for everyone.

The idea that "the most insignificant being summons the most amazing being" worked perfectly as a story. The term sekaikei wasn't around back then, but the Conviction arc follows a sekaikei flow. The Conviction arc is awfully exaggerated, but I wanted to put together a metaphor for the world. If we place Griffith at the apex, he becomes this thing with excessive charisma.

And at the same time, if we have such a sekaikei deal going on, I want to strike a balance by depicting a human in a weak position with his feel planted on the ground. If it's a fantastic world, I'll also put in something like realistic humans, and if things get horrible, I'll bring out something like Chestnut Puck.

After that, Griffith was resurrected and Guts picked up some travelling companions. One of them is Farnese.

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How did you go about creating her? I imagined Farnese as the second heroine after Casca, but I had a little trouble. I simply crammed my own tastes into Casca to create her character. She's loaded with what I considered ideal: When it came time to make a new heroine, I couldn't use the same method as with Casca. So I thought I might as well make a heroine with whom female readers could sympathize.

Mori is popular with girls, so I asked for his opinion as I pondered. The concept was "a female office worker who's been in society for a year or two, may or may not be accustomed to her job yet, and is ill at ease in a masculine society" [laugh].

She's doing her best with a band of knights in a masculine society, but she's unsociable since she can't seem to fit in with those around her; and her frustration is moving in a sexual direction, although half of it includes my own delusions [laugh]. In the face of Mozgus' intense impact, such an ungrounded woman is sure to get hung up on religion.

In other words, "an office lady who's caught up in a dangerous new religion. Serpico is those female readers' "dream". My intuition was that he's the kind of man they would want to have around. For a woman exhausted by society, he sees to her needs and considers her before all else. I thought this might be a woman's everlasting dream. To take it further, I think there are three dream men that a woman has. Someone like Serpico who sticks close by, a prince on a lofty peak for whom she longs, and someone wealthy and down-to-earth who will come and woo her.

In it, those three types of men show up around the heroine.