Berserk: I Want Wings Scene Analysis (Lost Chapter)

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Our scene starts halfway through chapter 82 of Berserk as we take a brief break from the horrors of the Eclipse and join Griffith as he sinks into the abyss. In the physical realm, Griffith is being metamorphosed into Femto, so everything occurring in this scene is metaphorical and happening in Griffith’s mind. Through his internal monologue he describes himself getting further and further form the light, sinking into the darkness, this is a very literal symbolic visual representation of Griffith fall from grace. Griffith is self-aware about his current lack of form and wonders where his body is and what exactly is going on. Progressively throughout this scene his new body will slowly come to form.

He continues to reiterate that he’s sinking, that’s a motif of this scene, Miura wants to portray this sinking feeling in Griffith, that’s why the repetition is necessary. Griffith is then confronted with the horrors of the Eclipse that is likely going on congruently to his transformation. There is an incredible full page spread that depicts the deaths piercing through him, the illustration here makes it pretty blatant that their deaths or sacrifices are physically feeding into his rebirth. He then is honest reflecting on this horror concluding that this is what he wished to happen, all this despair is because of his selfish desire. He goes on to further say that he feels nothing regarding their deaths, which is a sentiment he will later repeat at the Hill of Swords. He then continues to reiterate that he is sinking.

We are introduced to the Idea of Evil as a narrator. He shows Griffith the visualisation of the crystallisation of his last shed tear and explains that his suffering became so immense that his heart has been subsequently frozen. This is also an allegory for the activation of the Behilits, which as we will learn in the coming pages are derived from the Idea of Evil. A human must be broken in order to activate a Behilit, their emotions and empathy for humanity are squashed because of their suffering, therefore their last tear is derived from the last moment before they activate the Behilit. Griffith then notices the thousands of tear-like Behilit’s rising above him heading for the physical world, letting us know that the Idea of Evil is the origin of the Behilit’s. As he continues to sink he begins to see the physical embodiment of the Idea of Evil and once he gets a good enough look at it, he questions if it is literally God. This ends chapter 82 and the conical section of this scene.

Berserk chapter 83, also known to the wider internet as the lost chapter continues our scene while also concluding it. Griffith reiterates, questioning if the entity in front of him is God, the Idea of Evil then welcomes him and specifically refers to him as a human, implying that the Idea of Evil is in no way human or ever was like all being that use the Behilit as a tool to gain their supernatural abilities. Griffith asks again is this is God, and the Idea of Evil responds saying that he is the idea, the idea of evil the desired God. Griffith confused questions if this lump of flesh is really a God, but the Idea of Evil explains that this is only his core and that the vortex around him is the Godly part. The Idea of Evil is notably similar in shape to a heart, and as it is a God of feelings, particularly negative feelings, it fits. The Idea of Evil is the unconscious black heart of humanity.

The Idea of Evil then goes on to explain that the vortex surrounding him is an ocean of feelings intrinsic to all humans deep in their souls, he’s a collective consciousness that brings humanity together in solidarity. It was cultivated by the seemingly mindless despair of the nihilistic nature of the world in Berserk. It explains that these emotions birthed him into existence. Griffith acts as an audience surrogate here and an expositional tool, the Idea of Evil just subtly alluded to being birthed from human emotion, so now Griffith reiterates for the audience by asking if that means humans created God? He also asks if this terrifying hell-scape is humanities deepest desire. The Idea of Evil corroborates this and explains further that this is only one of multiple layers of the whole collective unconscious and that this is the layer of violence, loneliness and negative emotion. The Idea of Evil posits that this is the defining will of human nature, it even has a line on the previous page explaining that this place as horrific as it may seem, seems terribly human. Griffith then corroborates the humanity of this place as he menacingly looks down the camera with an open palm explaining that he can feel it, in an undeniably awesome panel. This panel also shows Griffith body progressing to materialise, he now has a hand and part of a face.

It is notable that when the Idea of Evil explains that this is merely one layer of the collective human unconscious. That means there are likely alternative layers that house different emotions. Therefore, it is equally possible that positive layers of Gods born of positive human emotions. If there is the Idea of Evil their must in turn be an Idea of Good, right? Even in Berserk people experience happiness or the idea of joy. This is only the layer Griffith personally called out for through the Behilit. Maybe in the story in the future we will see a character call out to a different deity of emotions.

Griffith then asks why the Idea of Evil was born and why humanity would give birth to this will called God. It’s interesting that Griffith described the Idea of Evil as a ‘Will called God.’ The Idea of Evil responds explaining that people desired an explanation for all the atrocities in their lives, all the atrocities they were exposed to by the world. Reasons for rain, reasons for sadness, reason for life itself as well as death. What could possibly explain the absurdity of life? The excuse they came up with was God, and so God came to them. The Idea of Evil explains that he controls destiny and the absurdity of life, because that is what he was willed into existence for. Not to end suffering or pain but to explain it. The Idea of Evil is omnipotent but obey the will of the essence of human kind, he cannot create a better reality, even if he desired to, because he is beholden to humanity and the world.

Griffith makes this about himself again by arrogantly asking if the Idea of Evil controls destiny than does that include his destiny, did he arrange for Griffith to suffer and be tortured. Not only does the Idea of Evil corroborate this but explains that all of the events relevant in Griffith’s life were predetermined in the distant past. He further explains that he manipulated lower-level humans into taking certain actions and merged certain bloodlines and created the specific set of circumstances so that Griffith would be born and live the life he did. It is interesting that Griffith’s linage is brought up here since we never see his parents, or anybody related to him in the story. Stonehenge interestingly feature as a fixture in the background of the page where the Idea of Evil explains his manipulation of the world. Stonehenge features throughout Berserk, when the demon baby warns Guts of Casca apparent danger, forcing him out of his Black Swordsmen behaviour and in the most recent chapter as of this videos release, where Griffith and his army are using it as a form of fast travel. It seems to have some symbolic meaning to the narrative, but I can’t entirely decipher it.

Another interesting detail here is the irony that Kentaru Miura literally is the real life equivalent of the Idea of Evil. In the story the Idea of Evil controls destiny, but in a more literal sense Kentaru Miura controls the destiny of the Idea of Evil, so much so that he cut him from canon, so ultimately, the author of the story controls the destiny of the characters. Is this black heart of humanity an allegory for Kentaru Miura himself, is he trying to make some meta-commentary on the nature of stories and characters and how they relate to destiny and the author. In the manga version of the Eclipse Gaston literally leans on the fourth wall when he explains to Guts before his horrific death that he was only a minor character in a grander narrative. If this is in any way true, this scene is almost like Griffith talking to his own author.

 

Griffith now understanding the monumentality of this encounter forgoes his self-importance and asks God what it wants from him. The Idea of Evil simply responds telling him to be as he will. This is something Wyald claimed previously, he said he was ordered only to do as he will. It seems the God Hand, hand this message of doing anything you will down to the mere apostles as well if Wyald somehow got this message, I don’t think he ever meant the Idea of Evil. The Idea of Evil goes onto explain that he dwells deep in Griffiths heart and that he is part of Griffith. Their desires are mutual, whatever Griffith desires will be the desire of the Idea of Evil as well. He explains to Griffith that his actions will reflect the truth want of mankind, it may cause pain or salvation to mankind. He finalises this speech in the full-page spread saying, “Do as you will, chosen one.” The Idea of Evil basically grants Griffith free will in this scene, Griffith ultimately uses this acquired free will to rape Casca in an attempt to humiliate Guts, and if you’ve seen my Hill of Swords scene analysis you’ll understand just how grandly Griffith fucked up in this entire situation.

Now after learning the complexities of the undercurrent of the entire universe, learning the truth about humanities collective consciousness and meeting God himself; Griffith concludes that if so: he wants wings. This viscerally human response after learning the complexities of the universe displays Griffith aforementioned arrogance and its absolutely captivating. The juxtaposition here works so unbelievably well creating both disgust and understanding, something about this request is relatable while simultaneously making you angry. This moment to me is only aptly described as, ‘incredibly Griffith.’ There’s something indescribably palpable about this moment and some of the credit must be given to the art, the progressive materialisation of Griffith throughout the scene is finalised here, Griffith is whole again, and his first line is, “I Want Wings.” The look of determination and assuredness here depicts what Griffith would become in the following chapters perfectly.

After his request the vortex all negative human emotion and feeling surround him and complete his transformation into Femto, including the wings he just asked for. The Idea of Evil closes the scene and the chapter by monologing that Griffith can mould his shape into anything he sees suitable for his desired task, whatever that may be. Our scene ends with a silhouette of the jet-black wings of Femto soring back up the abyss we stated this scene sinking down, to seemingly achieve whatever task he desired.

 

 

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Berserk: Hill of Swords Scene Analysis (Manga)

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This is a comprehensive video analysis of the Hill of Swords scene from the Berserk manga written by Kentaru Miura:

Our scene starts with a shot of a gravestone, and more astute readers will figure out what Erica corroborates immediately afterwards, that Godo has died. His gravestone is engraved with blacksmith paraphernalia and the dreaded Holy See insignia. Godo’s life and character is defined by his ambition for his trade, Guts and he had a conversation where he told Guts that he was so enthralled with his work and that the sparks from his forging that one day he woke up an old man. This is a bittersweet realisation for the reader, Godo was an incredible man who took Guts in and clearly had some love for him, resulting in Godo being the closest thing to a father Guts ever had, but he lived a long life and it was his time to die. Erica seems to be holding up pretty well, there’s clearly some sorrow and anguish in her expression when she wishes him an adorable good morning, but he had a peaceful death and nothing that left her traumatised. Erica is one of the purest entities in Berserk and has somehow remained that way, its only in this scene that she is in anyway sad, with both this moment and the one later where she thinks everyone is leaving her behind.

After saying good morning to her father Erica notices Guts, Casca and Puck returning after they’re journey to the Tower of Conviction. There’s a one page spread off a beautiful family portrait of them all with Godo’s gravestone looming in the foreground. The wholesome nature of the scene is fostered by Casca’s genuine excitement to see Erica again. Erica reciprocates and cries as she hugs Casca who hugs her back. Guts laments taking too long to get back. Erica let’s everyone, including the audience, know that it happened soon after Guts left as she holds Casca’s hand and skips back to the hut. This wholesomeness is important to keeping a balanced representation of human nature and the world entirely. If Berserk was only filled with Eclipse level traumatic experiences it would be dishonest in its representation. Things as emotionally traumatic as the Eclipse do occur in our world but incredibly endearing moments happen as well, otherwise we would all just be dead. This duality of the world is depicted not only here, where they have just come from the horrific events at the Tower of Conviction but right after the Eclipse where Guts runs through a naturally beautiful landscape that juxtaposes the nightmare he just went through, it goes from absolute despair to serenity.

Guts apologises but Erica says the Godo was happy that he got to see his surrogate son one last time before his death. Erica gets noticeably sadder throughout her explanation but either consciously or subconsciously changes the subject and tries to be positive by bringing up that Guts successfully got Casca back. However, with knowledge of her reaction towards the end of the chapter she clearly feels there is a void know that her father is gone and wants Casca and Guts to fill it. She asks Guts if he will stay with them now that he’s got Casca back, but Guts is still conflicted. When Erica says ‘let’s all live together’ he immediately thinks of Griffith and of his revenge. Erica continues justifying why everything will be fine now, Casca won’t run away ever again as long as Guts is with her, they can even renovate the cave and make it a proper home. Guts responds with ‘that’s true’ acknowledging that she’s right but not necessarily agreeing that he’s definitely staying but Erica misinterprets and becomes ecstatic. If the subtle allude to Griffith wasn’t registering with the reader Guts and Puck have a conversation about Guts being torn between Griffith and Casca again, torn between vengeance and love. Guts has an internal monologue where he acknowledges the irony that as soon as he got Casca back and believed he understood his purpose, Griffith reappeared before him not as a demon but as he once was. Meanwhile Erica is adorable freaking out.

Now this scene takes place amid Guts’ internal conflict between Casca and Griffith, does he hate Griffith enough for it to tip the scale further than his love for Casca? Ultimately, Guts comes to the right decision in choosing Casca over Griffith. This is made evident by one scene preceding this scene and one after this scene. At the Tower of Conviction Guts consciously choose Casca over Griffith in this iconic panel were his rage is placated by Casca in the background. It’s a wonderfully put together two-page spread that alludes to Guts’ priorities but at this point he hasn’t truly come to term with this decision of Casca over Griffith that he consciously made. But later when all the demonic forces in the world descend on Vritannis and Guts once again see’s Griffith on the horizon he leaves with Casca without a second thought. Casca is Guts’ replacement for his sword. Guts comes to the philosophical self-understanding at the tail end of the Golden Age arc that his sword may be the most important thing in his life and that maybe his purpose in life was to continuously swing his sword, but he repeatedly throws his sword away for Casca. Guts throws his sword down to pick up Casca at Doldrey and that’s the first time he does anything without his sword. He doesn’t even sleep without his sword, except when he sleeps with Casca, both sexually and platonically. On two occasions they slept with each other for warmth and for survival and Guts slept without his sword both times and then later when it became sexual Guts again left his sword behind in favour of Casca. This is repeatedly his subconscious trying to tell him that Casca is more important to him than anything he could achieve with a sword including killing Griffith. This is all something that Guts comes to understand after this scene, but it’s in this scene that this internal conflict is made incredibly physical.

Guts internal monologue continues, and he explains that when he initially saw him he forgot his urge to kill him and this amazement is captured on his face in this panel but then is immediately undermined by the next panel where he exhausts his frustrations at this, he will not allow himself to forgive Griffith. He then reflects on his period as the Black Swordsmen and how he wandered aimlessly chasing Griffiths undefined shadow, but now Griffith exists on the plane as him, where his sword can reach him. Interestingly, we seem to be ignoring the actual first encounter that Guts had with Griffith post-eclipse, in the scene with the Count. In this reflective monologue Guts doesn’t even allude to that meeting. I think Miura is hoping he had all forgotten about that because the only plausible explanation for neither one of them bringing it up in this scene is that he’s acting as if that never happened. But then the immediate mood of the scene is forever changed when Erica subtly starts to allude to Rickert being preoccupied with a guest that was an old war colleague and has long silver hair and was so pretty she couldn’t even tell that he was a man. Griffith is here holy shit.

This is a monumental moment. The monumentality of this moment and my original reaction to this moment in the manga is the driving force behind the creation of this video. If ever I wished I was recording my reaction to any piece or moment of media, this would have been it, I overtly freaked the fuck out. It was impossible for this to be happening especially so soon, this was supposed to happen at the very end of the story, I thought. There’s no way he would dare show himself here and there is no way Miura would deliver on something I wanted to see so bad so soon. The balls it takes to immediately and confidently play your best card so soon is what makes me respect this decision and love this scene so much. He decided not to fuck around and charge ahead with 1000% velocity. The way Miura constructed this page is masterful and creates the most palpable tension possible. The subtle hints that he’s there and the long shots of Rickert with another person in the distance tease it, but the close-up of Guts other eye draws you in and before you even had the chance to digest the hints and teases he’s right there. This caught me and the majority of us collectively off guard with unimaginable precision. This is the best surprise in a story I’ve ever experience, it was the last thing I thought was possible. Chapter 177 ends with a full page backshot of Griffith creating further mystery around him as we watch in awe from behind, astounded.

A key element left out of the discussion surrounding this scene and Griffith’s decision to show up here is his arrogance. Arrogance isn’t a trait I hear attributed to Griffith enough, I truly believe it is one of his most defining characteristics. In this scene he was the gall to not only show up but to actively walk on the symbolic grave of the Band of the Hawk. His unbridled arrogance is most on display, however in the scene wherein he has the opportunity to ask a literal (emotional) God for anything and he asks him for Wings.  But I hope to analyse that scene identically to how I’m analysing this scene next, so I’ll leave the in-depth analysis of Griffith’s arrogance for that later date.

Our scene continues in Chapter 178, after the cliff-hanger of the century, imagine having to wait a month between these chapters, with Rickert exclaiming his excitement that Griffith is alive. A key element of this scene is the dramatic irony with Rickert’s character, no one wants to fill young Rickert in. His emotional reaction to Griffith’s return also serves as a reminder to the readers that may have forgotten that Rickert is still ignorant about the on goings of the Eclipse and in this case, ignorance is definitely bliss. But even if you fully understand that you can’t help but get annoyed at Rickert throughout this scene, which was clearly Miura’s intent here. Rickert comes across as extremely winey and annoying in this scene, especially when he puts himself between Guts and Griffith. Rickert starts listening all the dead members of the Band of the Hawk and explains how he believed Griffith was dead all along and how relieved his that he’s alive. Every panel of Rickert talking is interspliced with panels of Guts rushing to the two with frightening speed and quite murderous intent. Erica, Casca and Puck are all left behind in the hut presumably for safety. These panels of Guts chasing are quite subtle and it’s important that we still haven’t seen Griffith’s face yet, the mystery element remains. Two page spread of Guts arriving and Rickert noticing and then a detailed close-up of Guts face and the reveal of Griffith is held off for the following page, which is another epic two page spread. These pages speak for themselves…

I cannot overstate the monumentality of this moment, but this spare down conveys it. Guts’ rage breaks the staring contest and Rickert kicks into gear and their breakdown in communication is evident. This situation would have been incredibly different if Guts had been transparent with Rickert and explained everything to him from the beginning, we have proof that Rickert would be on Guts side because the next time Rickert see’s Griffith after learning the truth he becomes the internet’s favourite man. They continue to miscommunicate and as they squabble Griffith finally speaks telling Guts that he never changes and that he always swings first and talks later. Fuck You Griffith. Not only is this infuriating to Guts but its infuriating to the viewer, the first thing this motherfucker says after the Eclipse is not an apology or a grand silique about how the ends justify the means but it’s some ad hominem against Guts, what an arrogant prick. Then he precedes to demean Guts’ development and say that he’s exactly the same as when they first meant. Out of the two of these pricks one of them has remained the same since that day and it’s not Guts. This sentiment also implies that Griffith stands just as far over current Guts as he did previous Guts which is equally infuriating. I hate this prick and his dumb smile and Guts agrees and asks him what the hell he came here for.

Griffith responds saying he came here to see Guts and to see if he still feels any connection to Guts and if he could make him forget his dream and fuck everything up a second time. He also throws in a line about the location being fitting because the Band of the Hawk has assembled once more. Another arrogant gesture and he is also neglecting Casca in this statement, because she wasn’t there which is another jab at Guts and quite demeaning to Casca as a character and undervalues her as a leader in the Hawks. Guts gets mad that Griffith would even dare use the name Band of the Hawk, this is a particularly soft spot for him, he repeats this offense when he fights Grunbeld far later in the series. Griffith then declares himself free of his emotional connection to Guts, and I choose to believe him here, because Miura seems to have switched Griffith weakness from Guts to Casca thematically, as will be corroborated later in the scene. Guts is shown getting incredibly mad in an extreme close-up and throws Rickert out the way to charge at Griffith. As he does so he asks him how it is that after everything he did he feels nothing. Griffith responds by simply saying that he will not betray his dream, this results in another rage panel from Guts and Guts swings at Griffith only to be blocked by Zodd.

Nosferatu Zodd is a great character, he’s the demonic exception to the rule. I’d say a majority of the Berserk fanbase likes Zodd and that can’t be said about nearly any other demon. Demons are usually terrible, barbaric creates who rape, devour and mindlessly murder people but Zodd is never shown eating or raping anyone and he fights for the fun of it and seems to have some honour, even if he is extremely Darwinistic in his approach. Zodd is basically a demonic version of Goku, he seeks out strong fighters and wishes to have thrilling death matches with them. Therefore, the audience doesn’t view him as a demon but just a beast. Later in the series when Griffith has accrued his demonic army Zodd is rarely shown among them, at Flora’s estate he kills a particularly annoying apostle who was being a piece of shit and when Sonia gives Mule a tour of the Band of the Hawk camp the demons are segregated and Zodd is not among them socialising but looking over Griffith. This separation is a necessary tool used by Miura if we are to in any way like Zodd, and ultimately this tool may be used to make Zodd an ally come the end of the series, but that last part is just some idle speculation.

Guts is caught off guard by Zodd’s appearance here, it’s a mixture of surprise and fear. Surprise that Zodd, someone who stood solemnly over he and Griffith is now for all intent and purposes his guard dog and fear because the source of all of Guts’ nightmares in his adulthood are standing in front of him. The first encounter with Zodd changed Guts fundamentally as a human being, all his dream sequences have a Zodd allegory if not Zodd himself present. Zodd was a symbol of something that made Guts powerless in his adulthood, Zodd was overwhelmingly more powerful than Guts and that scared Guts, he thought he had grown strong enough for no one ever to physically take advantage of again, but Guts proved him wrong. Now the figure that instilled all fear into Guts as an adult, stands in the way of the figurehead of the other traumatic and fear inducing experience of Guts adulthood. He is now forced to confront all his fears if he wishes to enact his vengeance. He decides here that his hatred for Griffith supersedes his lasting fear relating to Zodd. Additionally, there is fantastic attention to detail narratively here from Miura, he remembered that Rickert only ever saw Zodd in his transformed state, so until Zodd transforms in this scene Rickert is perplexed that some random creature is stepping to Guts in a sword fight. Zodd interestingly refers to Guts as the Black Swordsman which demonstrates Guts’ effectiveness in creating a reputation while he was slaughtering apostles in the Black Swordsman arc. Chapter 178 ends with Puck and Casca both seemingly noticing a presence on the snowy peak. Miura here is teasing their involvement in the coming chapter.

Chapter 179 continues our scene and opens fight poster shot of the upcoming Zodd vs Guts showdown. This fight is another story element that on my initial readthrough caught me completely off guard. Much like the Guts and Griffith conversation, I assumed that we would get a Guts vs Zodd fight in the final chapters of the overall manga. But Miura quadrupled down for this scene and blew off another highly built angle in this epic scene. This entire scene is a masterclass in how to surprise an audience with a major plot element that they weren’t expecting, and still maintaining intrigue by not giving too many answers. This scene is all masterful character work if you think about it, the only plot related development is that the Elvish cave is destroy, and this is just a plot device so Guts is forced to continue his journey and to introduce Elfhelm as a concept and a goal. Rickert’s internal monologue here is used as tension building for the fight as well as an expositional tool to guide the slower members of the audience. Here he explains his amazement to how strong this other swordsman is to be blocking Guts’ strikes. Zodd puts Guts over and explains how much it pleases him that he has significantly progressed since their previous encounter. Then their fight truly begins.

Now the fight between Guts and Zodd here is something I’m not going to focus on or discuss in much detail, basically it boils down to a well-drawn and well-choreographed clash. Zodd puts Guts over again, saying that it is magnificent that a human has attained such discipline. Guts completely ignores him and asks why he is with Griffith, protecting him, and then asks him to move aside because his business is with Griffith. We get a panel of Griffith looking generally disinterested in the ongoing madness, with his eyes such and his expression being completely blank. Then Zodd responds with possibly his best line in the entire series, “Works Lack Elegance, Force Your Way Past.” This line not only is cool as fuck but deeply insightful into Zodd’s character, he believes force to be elegant and believes words lack any elegance, that was a good one Miura. They then continue to fight with Guts’ attempting to force his way through. They have a back and forth of offense and defence, Guts concludes internally that Zodd is nothing compared to the journey he has fought through to get his chance to kill Griffith, he belittles Zodd in the face of Griffith.

Meanwhile we continue to get internal monologue from Rickert as he attempts to put all the pieces together. Who is this mysterious man matching Guts in strength and Why is Guts fighting so desperately to attack Griffith? Guts confirms again that he is stronger than base Zodd when he tactically impales him with one of the surrounding ceremonial swords and Zodd is forced to transform. Internally Rickert has a great, poetic line reflecting that Guts has done unbelievably well ‘braving death’ which is a fantastic use of personification. The chapter ends with Miura stopping his recent neglect of Griffith and giving him a moment of feeling, Griffith describes this as a faint throbbing. He goes on to say that his blood should have been frozen as his contemporaries told him it would have been at the Eclipse. But in his rebirth, he is feeling emotion again, he assumed that his blood had been frozen when he felt nothing towards Guts once seeing him again, but now he is feeling different. He concludes that the feelings he is feeling are derived from the infant infused into his being by the Egg of the New World, he seems unaware that this is Guts’ and Casca’s tainted offspring. The underlying irony here being that its Griffith’s fault he is feeling these feelings because the infant was only tainted because he raped Casca. As we will see demonstrated in the following chapter Griffith is now connected to Casca and puts her safety subconsciously above his dream. He may have successfully escaped the binds of Guts through the Eclipse, but because he was given free will he immediately fucked it up, enacting revenge on Guts by raping Casca to prove this connection to Guts was severed and conclusively, inevitable created a connection to Casca. Guts can no longer distract Griffith from his dream but Casca can! The final page of the chapter shows Guts and Griffith’s faces juxtaposed.

Our scene continues further in Chapter 180 and opens with Zodd continuing to praise Guts for his swordsmanship and the power of his sword itself, which is a nice little nod to Godo and his elite level craftsmanship. Since he spent every waking moment forging its nice for Zodd to corroborate his level of expertise. Guts realises that this is where the real fight starts, he’s fully aware that Zodd still has a transformation. Zodd finishes his monologue with saying that he has not yet tasted enough, he hasn’t had his full of fun and subsequently transforms. This two-page spread of Zodd’s transformation might be in my Top 5 pages from the entire manga, not that I have a Top 5 pages from the manga, but you get the idea. You can feel the momentum from the pages, the verbosity and forward momentum of Zodd here is profound. Now that Zodd has transformed Rickert finally starts piecing together the situation, but he is still perplexed that Zodd is protecting Griffith. They continue to fight with Huts clearly now on the defensive. Guts is forced to dodge constantly as Zodd continuously charges him down hoping to impale him on his solitary remaining horn. One of these dodges results in Zodd destroying the Elvish cave that was the only know safe house for Guts and Casca. Speaking of which Casca makes her appearance wondering up from the hut to the extremely dangerous battlefield.

Guts knowing that it’s impossible for him to fend off Zodd and protect Casca at the same time, lashes out in anger and calls her stupid and to get back, Erica is shown following her up the snowy peak. Casca stops immediately upon seeing Griffith, she’s transfixed from afar as Griffith looks on with a blank face. Now there are multiple explanations for Casca transfixion here, maybe Griffith’s angelic appearance is responsible, she’s drawn to the shiny man on the mountaintop. Another explanation could be that she senses the presence of her child inside of Griffith and has a maternal instinct to protect it. These are equally more justifiable than the explanation I sometimes see that this instance of transfixion is evidence that Casca wasn’t raped and that now that she has her mind back that she wants to go back to Griffith. Zodd remerges from the debris and rains boulders from the sky, Erica and Puck successfully get out of dodge but Casca, whose unaware of her predicament is left unguarded, with Guts to far away to save her. Guts reaches out to pull her out of the way but Zodd smacks him into the other direction. All seems lost for Casca until this prick comes to the rescue. The fact that he would even dare touch her infuriates Guts and the audience, but he saved her when Guts couldn’t, rubbing salt in the limp sized wound. Casca with the shiny object now right in front of her reaches out trying to touch it but her brand explodes causing her immense pain. Guts visualises the audiences rage in the following panel, Casca falls to her knees in front of Griffith.

Surprising it seems that Griffith was not intentionally trying to save Casca and giving us and Guts collectively a massive fuck you, but subconsciously was driven to protect Casca because of the infant. Immediately after saving Casca he tells Zodd to stop and leaves. Now Griffith immediate leaving implies that this emotion he feels towards Casca caught him off guard so much that leaving was necessary. Obviously, he had to think about how to move forward now that Casca has the ability to make him forget about his dream, she now has the ultimate power over him and the irony and justness of that fact gives me great relief. Fuck You Griffith. Zodd does not second guess Griffith’s order, showing us that his loyalty to Griffith and his will trump any fun he wishes to seek out personally. I’m certain that Zodd wanted to continue to fight Guts but Griffith is a member of the God Hand and Zodd is a mere apostle and he is loyal to this structure. Guts who caught off guard by the sudden retreat attempts to ask where they are going, but Griffith interrupts with the answer. Griffith tells him that he told him once that he will get his own kingdom and gives the chilling and infuriating line, “Nothing Has Changed.” This line demonstrates that previously mentioned arrogance and disrespect from Griffith and closes out chapter 180. Fuck you Griffith everything has changed…

Chapter 181 concludes our scene and opens with the line chapter 180 ended with, “Nothing Has Changed,” it’s equally as irritating the second time. Then Griffith continues, ignoring Guts, telling Rickert that if he learns the truth as still wishes to follow Griffith towards his goal, then he has no reason to refuse him. I hope Griffith regrets this now after getting slapped. But Griffith even in this offer shows his arrogance saying that it all makes no difference to him, Rickert is only further confused by this. Guts is not happy that his two biggest targets are running away and starts mindlessly firing crossbow bolts in their general direction, they all miss and Rickert again puts himself between Guts and Griffith. Guts then decides to verbally express his emotions screaming at Griffith as he flies away, asking him how after everything that happened he can say nothing has change. Griffith ends the conversation with “You should have known, this Is the man I am… you of all people.” This implies that Griffith expected some level of understanding from Guts and that his actions are obviously justifiable, which is laughable. This is too date the last conversation these two have ever had. They briefly see each other Vritannis but they are yet to speak to each other since.

After Griffith and Zodd fly into the distance, we cut back to our family with Rickert demanding Guts tell him the entire truth while Erica and Casca hold hands, watching from a distance. Rickert states that he doesn’t care how painful the truth is he just wants to understand. We cut to Griffith who holds his heart thinking back to protecting Casca and then immediately thinking about the infant, heavily implying that it was not his free will that made him protect Casca, but the overwhelming will of the infant infused into his being. Griffith cannot do as he will. I appreciate the subtle storytelling here, no words or exposition is given here by Griffith to explain this to the audience, Miura respects us enough to trust us to put it all together with the information given. When we cut back to Guts and Rickert its implied that Guts has told Rickert everything, additionally Puck was listening and is now fully caught up on Guts’ backstory, even if he says he had somewhat already figured it out. Rickert is driven to his knee by the information, and rightfully so. Puck looks over his shoulder at an adorably innocent staring off into the distance, Puck is internally juxtaposing the two images. She may or may not be looking off in the direction Griffith and Zodd took off in, she is holding her brand after all.

Erica is left melancholically lamenting the destroyed Elvish cave, she may be young, but she isn’t stupid, she understands this means Guts and Casca cannot stay with her and Rickert now. Rickert after collecting his thoughts declares that he wants to go with Guts because he needs to make up for the years he lived a comfortable life in the blacksmith’s hut, while Guts sought revenge by himself. Guts denies Rickert with an incredibly poignant line, “Because You Could Never Really Hate Griffith.” Which is true because Rickert does not have the nightmares and scares of the Eclipse on his body, he isn’t forced to revisit the horrors constantly and isn’t haunted because he literally isn’t branded as a sacrifice. Meanwhile, Erica who overheard Rickert say he was leaving and get upset and runs off. Rickert is pressured into following after her by Puck. Rickert visually prioritises Erica over his revenge against Griffith by running after Erica rather than staying with Guts. This leaves Guts and Puck to talk, and they both concluded that the path of vengeance is impossible with Casca tagging along, and now Guts refuses to leave her behind. Now that the safehouse is destroyed they’re in quite the conundrum.

The final page depicts Chesnutt Puck having a cute, comedic, hard think. He has an epiphany and says there’s a perfect place for Guts and Casca to journey too and that its safer than nearly anywhere in the world and that he can’t believe he hadn’t thought about it sooner, they can go to Puck’s home. This not only creates interest in this mystery location by connecting a character we know to it but also shows show self-awareness in Miura comedically pointing out how convenient to the plot this reveal is, chocking it up to Puck’s forgetfulness. Additionally, the panel of Puck saying, “My Home,” is another one of my favourite panels in the entire series. It’s extremely cute with Pucks massive eyes and wholesome expression but further by the adorable reflection of Casca in Puck’s wing. This panel ends Berserk chapter 181 and ends our scene analysis.

 

 

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Puck Became a Joke and That’s Fine

Puck never lost his importance to the story of Berserk. Everyone is mad at Miura because he supposedly ruined Puck by giving him the comedic relief hat to wear following Conviction. This viewpoint is flawed for two reasons; Puck was always comedic relief and is still important to the plot, he just isn’t being focused upon or developed contemporarily. I’m sure Miura will develop Puck more in the future. His role has become increasingly comically related as of late, but he still has serious moments and observations from time to time. He was focused upon plenty in the Black Swordsmen and Conviction arcs because he was Guts’ only travelling companion, but in the arcs since them Miura has spent establishing the 30+ other characters that were important to the story. From Farnese to Mule and from Zodd to Silat. Puck became a joke and that’s fine because it’s funny and it’s temporary.

 

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Puck in the Black Swordsmen arc served as our guide to this brand new and equally confusing and dark world. Puck was a newcomer to Guts and the world of Berserk just like us, he was a great parallel to the viewer and served as prime juxtaposition to Guts while he was at his worst. Puck served a seminal narrative reason in those early Berserk chapters and his sympathy for Vargas and disdain for Guts’ unruly behaviour endeared him to us. In the Lost Children chapters Puck further was endeared to the audience and eventually after he and Guts acknowledged each other as mutual, worthy travelling companions, and embraced others like Farnese, Serpico, Isidro and Schierke, those characters took the spotlight. Puck was just along for the ride. So, Miura, to keep Puck around as a relevant character, created the “Chestnut Puck” persona.

 

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But the criticism for Chestnut Puck further doesn’t make sense because Chestnut Puck is (objectively): best Puck. He’s hilarious, his chemistry with Isidro and Ivalera are off the charts and watching them interact gives me the finest of joys in my terrible existence. Additionally, his gimmick of believing the story revolves around him, along with the scenario of him and Magnifico trying to overthrow the Elfhelm system was also hilarious. So, don’t shit talk Chestnut Puck, he’s fucking great and in the future Miura will give him serious moments and make you the happiest boys in all the land. Puck’s a funny boy, leave him alone…

 

 

 

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The Black Swordsmen Arc is Critical to the Overall Structure of Early Berserk

The first eight chapters of Berserk featured in Volumes 1-3 have become known as the Black Swordsman arc. This opening arc of the series has come to be undervalued largely by the wider Berserk community. It has largely been ignored by all anime studios in their adaptations and its importance to the structure of Berserk is also commonly undervalued. This is massive mistake on all anime adaptations of Berserk. The Black Swordsman arc is seminal to the overall structure of early Berserk (Black Swordsman and Golden Age) and the arc is designed to be shown entirely and then be followed up by the Golden Age, which should be presented as a prologue.

 

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The Black Swordsman arc is an introduction to the world of Berserk, therein introducing the tone, characters, themes and imagery present in the main timeline of Berserk. This is necessary because it is seminal in that the Golden Age is presented as the tonal outlier of the series. The movies entirely present the Golden Age without the necessary juxtaposition which undermines the intention of the original manga. Everything from the characters to the tone to the overall world is juxtaposed between the Black Swordsman period and the Golden Age. Pippin, Judeau and Corkus have virtually nothing in common with Vargas, Theresia, Puck and The Count, those unfamiliar with Berserk may even initially believe they are from different stories entirely. The worlds are completely contradictory, one has monstrous demonic evils seemingly around every corner and the other is one of traditional medieval fiction, with Kings, Knights and Princesses and no magic or monsters anywhere. This instils in the viewer an unwavering intrigue making them wonder how we go from a normal medieval setting to one of dark fantasy, something terrible must happen?

 

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Thematically there is also an essential justification for the series to be structured with the Black Swordsman arc preceding the flashback to the Golden Age, because a central theme of Berserk surrounds fate. Whether it’s called fate or causality that is what Guts is truly fighting against, this is visually represented from the beginning with the brand on his neck and how he struggles against the will of fate. Additionally, the entire cast of the Golden Age arc is fighting against fate, the audience is positioned in the same way they are. We know that due to the absence of Judeau, Pippin, Corkus and the other members of the Band of the Hawk, that they will likely die before the flashback concludes, but still the audience wills against fate, we don’t want these characters to die but secretly we know it is unavoidable. Technically the audience somewhat wins their fight against fate through the unlikely survival of Casca and Rickert, many likely assumed they would also perish. This highlights Berserk’s most important thematic element hope. Casca and Rickert struggle to survive and in their survival the audience is rewarded with maintaining them in the story. There is hope in the world of Berserk.

 

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Ultimately, the Black Swordsman arc is necessary in any adaptation or read-through of Berserk to truly get the clearest picture. Muira wasn’t dicking around when he wrote these opening eight chapters and it grates on me that they are continuously overlooked and downplayed by would-be adapters and some in the Berserk fandom.

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Griffith Only Did One Thing Wrong…

Griffith’s actions in the Eclipse to a point, were completely forgivable and justifiable. In this instance the ends Griffith went to did justify the means all until the rape. RAPE IS BAD PEOPLE. It’s literally the worst thing that can be done to a human being, worse than murder, worse than theft, worse than anything. Sacrificing the Band of the Hawk is justified by the narrative itself, we spent multiple chapters wherein Ubik explains to Griffith that his life will be horribly mediocre if he refuses the sacrifice and everyone that ever followed him will have died in vain, that’s thousands of people that will forever be on Griffith’s conscious will he wastes away for the rest of his life. Characters that have mercilessly killed other characters the audience cared about have been forgiven in media before; Vegeta was responsible for killing nearly all of the Z Warriors and then just joins them, Magneto is always doing crazy shit and ends up teaming with the X-Men against an eviller and threatening being. Griffith could have been forgiven in a similar way… until he mindlessly raped Casca.

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But the rape of Casca was pointless and gratuitous. Griffith had nothing to gain from raping Casca, he did it simply to torment Guts. For chapters and chapters before the Eclipse, panel after panel conveyed his unhappiness and jealousy of the relationship he can see has developed between Guts and Casca since his capture. Maybe he believes they’d forgotten about him and that’s why it took them a year to come and rescue him, who knows and who cares; Griffith must die. For the crime of sacrificing everyone Guts cared about, for tormenting him by cuck-raping his wife Griffith has earned a death sentence. Griffith did only one thing wrong, rape Casca and for that one thing he must die…

Media Consumption Week #1 (Monday July 23rd, 2018)

Welcome to the weekly (hopefully) series of me chronicling my media consumption while giving brief opinions on the various things I’ve been watching, reading, playing ect. I welcome any conversation or discussion in the comments:

Steins; Gate:

I unintentionally re-watched all of Steins; Gate in a few days, I just got entirely sucked in after watching Episode 1. I think this further demonstrates to me that re-watching your favorited series is so important in understanding what you consider the peak of entertainment. Figuring out how everything fits together and noticing little details in any narrative, strengthens your liking for whatever series. But this re-watch was so interesting to me because I used to believe Steins; Gate was my favourite show for a time, and then I watched some other shows and didn’t revisit this show and it fell gradually down the list. Following that I remember trying to re-watch some of Steins; Gate about a year ago but I didn’t really like it and found the dialogue cringy and annoying. However, now after a fully-fledge entire re-watch I find myself liking this show as much as I ever did. It’s not on the level of The Sopranos or Black Lagoon but Steins; Gate remains special to me. Ultimately: Re-watch your favourite shows with regularity, it’ll make you feel good.

Despite my anecdotal monologue, some aspects of the show that I appreciated this time through were the character interactions and just how fun they are to watch. Obviously, this has always been an acclaimed attribute of this show, but in this re-watch, I found myself savouring the opening 10 episodes because the slice of life interactions, and sadly that isn’t as prevalent when the drama and plot begin to pick up after the major plot twist of Episode 12. I fell back in love with these characters and watching them on screen was so fun and nostalgic, and proved for a very enjoyable overall experience.

Steins; Gate Zero:

Originally, I watched Steins; Gate 0’s pilot episode upon its initial release, but it had been awhile since I had re-watched the original and I was slightly lost about where this show fit in on the timeline among other little aspects, so I just ignored it recently, internally coming to the conclusion that I would watch it all once it came out entirely. Now the Dub is out and there were about 11 Episodes out, so I decided to give it another chance, and ended up watching it all in about three days. The emptiness left in my heart when I caught up was what drove me to re-watch the original series and now I’m anticipating the next release.

Now to discuss the actual show: It’s an unrivalled experience for me. The structural nature of a sequel to Steins; Gate that takes place on a world line where none of the character interaction are remembered by anyone, but Okabe is brilliant. When familiar elements in the narrative reappear but are slightly different it truly gives you a thrill making your mind wonder with the possibilities. An example is when Moeka initially appears and the viewer is made to think about what her possible roll in this world line is. All reappearing characters and plot elements are like this and it is truly an experience that keeps the viewer on his/her toes on a fundamental level. Additionally, me picking up on hints and foreshadowing due to my many experiences with the original made me feel respected as a die-hard fan of the series. I picked up on the identity of the biker chick and noted the American professors strange behaviours because it was foreshadowed similarly to things in the original Steins; Gate and those “ahahhh” moments are the adrenaline filled highs I live for. So far, I think its earned its already monumentally high position on MAL and is a worthy sequel to the original Steins; Gate.

Cowboy Bebop:

Watching Cowboy Bebop for the first time was a daunting task; As much as you try to repress the acclaim surrounding it and judge it purely by its merits, the legacy of the show still bleeds through and influences your opinion. Part of the reason for my lack of Cowboy Bebop experience was because it is an episodic show and that really doesn’t traditionally appeal to me, and even in this show I wasn’t enthralled until Episode 5 which absolutely blew me away entirely. What I love about this show, and this is even present in the episodes I wasn’t so into in, is the sound design where the show can go from being show loud and overbearing to absolute mellowness in an instant. This mellowness is my favourite individual aspect of the show, there is yet to be a completely over the top loud villain or hero everyone just maintains this overly cool demeaner and its captivating. This show is very relaxing, and I don’t think I’ve explained myself the best here…

More specifically I would like to discuss Episode 5: Ballad of Fallen Angels. I love everything about this episode and its easiest one of my favourite episodes of any tv show ever, I was completely blow away by this episode. I’ve watched it over a few times now and I absolutely hope that this is the only indication we ever get into Spike’s backstory, I’ve got all the information I need, and I now understand Spike entirely. The sequence of specialised music timed with the brief flashes into his past blew my socks off, it was more effective than any other expositional method and I really hope they don’t attempt to create any more depth there because its unneeded. The atmosphere of this episode is uniquely brilliant and justifies my time investment in the unequal first hour and a half of content.

Neon Genesis Evangelion:

I’ve only recently got Neon Genesis Evangelion. I watched it earlier this year for the first time and chronicled some of my ongoing thoughts on Twitter and then came to the conclusion that Eva was special, but I didn’t entirely get it yet. Recently re-immersing myself back into the world of Eva, I finally appreciate it the way I wanted to originally. Moreover, I understood its predominant social commentary of communication and how when it breaks down (and it always does) how everything goes to shit. I started thinking of how miscommunication leads to nearly every problem in everybody’s lives and leads to depression and all that good stuff. My epiphany about communication and its relation to Evangelion through a recent re-watch also further proves my previous point about the importance of re-watching your favourite series’.

My Hero Academia Season 3:

My Hero Season 3 has been in a bit of a slope recently. After the conclusion of the first arc of this season we’ve been having some down time to refocus on the hero’s in trainings’ training, also known as the most boring aspect of this series. By the end of the All for One vs One for All fight my investment in the villains was at an all-time high. But they seem to have been reserved in the background for the time being to focus on this upcoming exam. The most recent episode has shown some potential and I believe we will be emerging from this slope in quality in the coming weeks.

Vinland Saga:

Vinland Saga caught my eye because it was commonly compared in some way to Berserk and that there is an upcoming anime for the series and I wanted to get ahead of the game. After reading it for 6 volumes I have every intention to complete it. I don’t have any foundation opinions on the series yet, and my biggest take away so far is that I enjoy the characters. Thorfinn may have some generic qualities but his brooding, edginess (for lack of a better word) is fun to watch. Askeladd is the most interesting character so far, he obviously has his own agenda and I’m interested to see how the Welshmen develops. Finally, Thorkell is great, he’s another character with some generic qualities but his disregard for convention and absolute self-confidence is also fascinating to watch. Overall I’m just interested in how the entire manga develops from here, because there’s definitely potential here.

Berserk Manga:

I’m cautiously reading and taking notes of the Berserk manga for an upcoming project and re-reading this series is an absolute gift. Analysing the idiosyncrasies of this manga and now understanding the proper thematic relevance and sub-textual elements gives you a different perspective on Berserk and a better understanding of just how great this series truly is. However, I’m going to wait to delve too deep into Berserk, to not spoil my aforementioned upcoming Berserk related project.

Octopath Traveller:

I have played very little Octopath Traveller at this point and I predominantly just mirror the most generic, reoccurring sentiments that it looks beautiful and plays well. No hot takes here, I hope to play much more of this game over the next week.

Fortnite:

What can I say about the universal phenomenon from Epic Games? I’ve been playing Fortnite for nearly a year now and I’m still completely interested and invested and play nearly every single day. My recent Nintendo Switch purchase absolutely hasn’t assist in quelling this craving. Easy access to just one more game is life-altering and it’s still as fun and addictive as ever. I’ll continue to play this increasingly more popular game…

G1 Climax 28:

New Japan’s G1 Climax is acclaimed throughout the wrestling community as one of the shining examples of professional wrestling. My New Japan journey began earlier this year on January 4th (and not for the obvious reason) so this G1 is my very first, and I was excited and hyped for both the tournament and even the press conference, and I was not disappointed in the slightest by either. The press conference was great and only further highlighted that New Japan doesn’t only have the best pure wrestling in the world but by far the best promos in the world. WWE promos are scripted and unconvincing whereas they press conference interviews were incredible with Zack Sabre Jr. giving his usual hilarity, Fale proving that you only need a few words to get your point across and Tama Tonga and Juice Robinson empathising that they are the best two promos in the business. (And don’t forget about young Jay White)

The three standout stories in this year’s G1 are the reanimation of the Bullet Clubs old ways, Jay White proving to be the best up-and-coming heel in the business and Toru Yano trying to fight against his true nature. The first two are intertwined in a controversy about outside interference and ref bumps; in both these storylines cheating in their matches or outright disqualifications are heavy prevalent and this has some people outraged. This all feeds into the story and New Japan is already capitalising on this aspect of their respected storylines by subverting the views expectations and creating something new. Jay White’s cheating finally caught up to him and he got his comeuppance when Minoru Suzuki beat the shit out of him and ended his undefeated streak. As for the Firing Squad they have been making enemies of the referee’s and this is having consequences in their G1 standings, because they’re losing matches because of it. Additionally, when the referee goes down and the baby-face still overcomes the odds like Sanada did over Tama Tonga the crowd exploded. All this is building and has consequence, this isn’t a fuck finish to delay a feud a couple more weeks for the PPV, it has legitimate storyline weight to it.

As for match recommendations, the following all stand out to me; (notably these are all B-block matches): Naito v Omega from Night 2, Zack Sabre Jr. v Toru Yano from Night 4, Naito v Ishii from Night 4 and Ishii vs Goto from Night 6. If you’re a lapsed wrestling fan or ever been curious about the wacky world of professional wrestling, New Japan Pro Wrestling is an excellent way to start.

Extreme Rules 2018:

It was bad. I think at this point we all understand that this event was forgettable and terrible, and it isn’t the crowds fault at all. The event was encapsulated by the crowd’s stellar performance, this show was too long, and no one cares about any of this garbage. Who could possibly care about anything on this show; nothing matters these titles are traded back and forth for no discernible reason, there’s no consistency in the storytelling and it’s just a cycle of fan-hatred and garbage television. WWE was ruined Asuka in favour of a joke side-kick and Carmella, pulled the trigger on some unfunny comedy tag team 6 weeks too late and wasted everyone’s time for 30 minutes on a fuck finish. I have nothing new to add; this show was garbage.

Avengers Infinity War Scattered Thoughts: (Spoiler Alert)

 

Avenges: Infinity War is a cultural phenomenon, I believe that’s self-evident, and I as the majority of the world saw it opening weekend contributing to a record breaking effort for Marvel Studios. Who deserve props because they had every excuse make a safe, predictable ‘normal’ Marvel film to satisfy the endless lines of fanboys and clueless onlookers. Bewilderingly Avengers: Infinity War is great. It was pleasant surprise that this climax of 10 years of well-thought out universe construction would result in a movie that stands out amongst its contemporaries. Infinity War joins the shortlist of Superhero films that transcend their genre and become films to be remember, along with the likes of: The Dark Knight and Captain America Winter Soldier.

All the praise directed at this movie is predominantly because of the standout aspect of this film, Thanos. I would gander to say that Thanos might be one of my favourite cinematic villains in recent memory. The performance given by Josh Brolin and the nuanced writing by Marvel culminate in a villain that like the film itself, standout amongst its contemporaries. Thanos is not a one-dimensional overpowered tyrant bent of needless, senseless destruction but a character who has been through it all and come out with a solution that he knows many consider detestable. Marvel of all studios have created a fantastic villain, when their villains are the one aspect of their films that are nearly universally criticised. Thanos and Tony Stark (Iron Man) are all that matter in this film, they are what make this film great. This is evident in 3 defining scenes from this movie, Tony and Thanos’ post fight conversation, the final scene of the film and the events on Vormir, which all display the nuance and cleverness behind these characters.

 

Avengers Infinity War Poster

 

These scenes collectively humanise Thanos; the conversation between Tony and the unique tyrant is so effective because it displays the difference between Thanos and the titular ‘big bads’ common in action/Superhero movies. A lesser villain once soundly defeating the heroes would gloat and announce his joy at besting our heroes. This trope is an easy emotional reaction from the audience, an easy heel manoeuvre for cheap heat and is completely overdone. However, Thanos genuinely sympathises with Tony and acknowledges his valency and announces that he hopes the people or Earth remember him for his efforts. This simple exposit from Thanos shows complexity and human characteristics in his personality and character that allow him to standout. The final scene of the film is a grand blend of subtly and vicarious thrill. Once again Thanos doesn’t gloat in his overbearing accomplishment but finds the satisfaction within himself. Ultimately, this allows the audience to understand and respect him for his achievements even if they find them detestable.

 

Thanos Moon Destruction

 

The scene on Vormir has had me astonished ever since I saw the film last week. Not only does it continue to humanise and give nuance to a great character in Thanos in all the ways listed above; but also in its similarities to the long running manga series Berserk. Avengers: Infinity War and Berserk would seemingly have nothing in common but there are too many similarities in this scene for it to be a coincidence. Obviously, the solar eclipse ubiquitous in the background of the scene is a parallel, also the sacrificial element is another obvious parallel. But the two other examples that cement this as a reference or homage is Red Skull being presented similarly to Void (dark cloak, knowledgeable key holders) and the imagery in the lake displayed below with the circular object coming to the worthy character in a lake. This scene blew my mind in the theatre, and was one of the strangest, most cereal experiences I’ve ever had watching a film, never did I imagine the biggest film, possibly of all time would reference Berserk…

 

Thanos and Griffith comparison
Found this on Reddit

 

Overall this movie was a pleasant surprise and a movie I would like to soon revisit. It has shortcomings, like Scarlet Witch and Visions’ unbearably dull scenes and the lack of anything to do with Captain America, Black Panther or Black Widow. But the refreshing quality of Thanos as a villain and his incredible interaction with Iron Man propel this movie to unforeseen heights to someone who thought they fully understood the Superhero genre. I genuinely hope this film becomes the highest grossing movie of all time because it deserves it.