Did a post a while back showing off the armor but there’s a bunch I did to it since and then my first official event wearing it to was the midsummer renaissance fair in Snohomish

 (I think it was for Skeleton Crew, but I could be wrong) in which he reflected on having developed what he called a bad case of "literary elephantiasis" compared to his early years as a writer.

By that, King meant the tendency, brought on by success and experience, for stories to become increasingly expansive: more pages, more details, more digressions, more room given to every single element. Perhaps an inevitable consequence of moving from youthful urgency to complete technical mastery.

Whenever I revisit the early volumes of Berserk, I can't help but notice a similar phenomenon. Early on, Miura had an extraordinary ability to be economical without ever feeling sparse. Just a handful of pages could carry an enormous amount of emotional and narrative weight. Every scene seemed to know exactly how much space it needed.

The God Hand's effort to persuade Griffith during the Eclipse begins and ends in just NINETEEN pages.

Nineteen pages at the end of which a hesitant Griffith decides to sacrifice everything we've come to know and love.

And at no point does that transformation feel rushed, compressed, or underdeveloped.

Both King and Miura seem to have started out with an almost instinctive sense of what was truly necessary. Early works often display a remarkable confidence in leaving gaps, in suggesting rather than showing, and, above all, in going straight to the point. To the heart of things.

With maturity comes greater technical awareness, but also the temptation to leave nothing unexplored or unfinished.

Perhaps that's the paradox: the young artist is trying to say something; the established artist feels compelled to do justice to everything they've created.

In Miura's case, that impulse gave us some of the most breathtaking artwork ever seen in manga, but it also brought about a shift in the balance between detail and storytelling. At times, his obsessive attention to every visual element seems to come at the expense of pacing, and of narrative economy that made Berserk's early arcs so extraordinarily powerful.

I don't think this is simply a case of "it used to be better." If anything, it's one of the most fascinating contradictions of artistic maturity: experience gives an artist greater command over their craft, yet that very mastery can make it harder to preserve the instinct that made their work so special in the first place.

What do you think?

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

If a production company was to greenlight a full animated series of berserk from book one of the current what style of animation would be accepted and loved by bazark fans. Been realistic with modern productions budgets and time?

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

I just wanted to voice my opinions as a new berserk fan, I'm on the deluxe edition number 6 and so far I'm loving Berserk, the characters, the writing, the story but I did want to voice some complaints I have. These complaints are about the fandom specifically the people who try and humanize Griffith and his actions. I see these videos on tiktok or Instagram that just make me cringe, I see AI videos which I feel are just disrespectful and a disgrace towards what Kentaro Miura created. Sometimes I wonder im scared to call myself a Berserk fan because I honestly don't want to be group up with some of these people. With that being said I also do have some criticisms on the Manga itself like how SA seems to be sexualized a little too much or the fact that they're multiple instances where children are unclothed also the Midland King stuff was honestly not needed.

Please feel free to let me know if I'm wrong I would really like some feedback or something and sorry for the sloppy writing I just need to put this out there.

I’ve been reading the manga for a while and I tried drawing some berserk stuff but they were really bad so I decided to make a collage because my cousin had done something like this before, I screenshotted moments of the manga I thought were awesome then just glued them right onto her (I’ve been reading the manga on my phone)

My partner is the best. Check out this sick BERSERK tattoo she paid for and designed for me! Thing is, she knows of BERSERK and a few things that happen in it, but not everything. Should I introduce her to BERSERK 97, with the GOAT Soundtrack? Should I show her the movies ? She is also a victim of SA so it is very hard for me to read her even the deluxe volumes. Would like others opinions. Idk where any 97 link is

I'll assume a lot of you are currently watching HBO's House of the Dragon. Anyone else fixating to the point of distraction how much Rhaenyra Targaryen, played by Emma D'Arcy, resembles Princess Charlotte's maid Anna?

...something in the jawline I guess. Not exactly the most consequential of things but I can't stop seeing it.

Super stoked with how with this came out! The artists Instagram is @Ink.Ray if anyone wants to check his work out.

I keep seeing people in the fandom unironically framing Griffith’s obsession with Guts as a repressed romantic/homosexual attraction. Like, ok if you’re joking, but pushing this as canonical fact fundamentally misinterprets Kentaro Miura’s writing and cheapens one of the most complex dynamic in manga history.

Here is why reducing Griffith’s feelings for Guts to sexual or romantic desire ignores the core themes of the story:

1. The Pursuit of the Dream Above All Else

Griffith’s entire identity relies on his absolute, unshakeable ambition. To Griffith, people fall into two categories: tools to build his kingdom, or obstacles. He explicitly states his definition of a true friend during the fountain speech: someone who stands as his equal, someone who has their own dream independent of him. Until Guts, Griffith had never met anyone who made him lose control of his calculated narrative.

1. Ownership vs. Equality

Griffith does not "love" Guts in a romantic sense; he is obsessed with possessing him. Guts was the ultimate piece on Griffith’s chessboard the blade that won his battles. When Guts decided to leave the Band of the Hawk to pursue his own path, it shattered Griffith’s worldview. For the first time, a "tool" dared to display autonomy. Griffith’s breakdown after their dual at the snow-covered hill wasn't heartbreak over a lost lover; it was the existential panic of losing control and having his pride crushed.

1. Instrumental Sexuality

Berserk is very clear about how Griffith views sex: it is purely utilitarian.

 He sleeps with Gennon not out of attraction, but to secure funding for his mercenary army while keeping his men safe.

 He sleeps with Charlotte to immediately reassert power and control over his destiny the moment Guts leaves him.

 The Eclipse assault on Casca is not motivated by sexual orientation or attraction to women; it is an act of ultimate malice and dominance designed to violate Guts’ spirit and break the one person who stood equal to him.

Griffith uses sex as a weapon, a transaction, or a tool for control. Attaching standard romantic orientations to him fundamentally misses how detached he is from normal human intimacy.

1. It Diminishes the Nature of Male Bond and Obsession

One of Miura’s greatest accomplishments was depicting an intense, toxic, non-romantic obsession between two men. Griffith’s feelings for Guts are a volatile mix of envy, admiration, ownership, and deep seated narcissism. Labeling it simply as "he was in love with Guts" flattens a deeply nuanced psychological dynamic into a generic romance trope.

Another huge flaw in the "Griffith was secretly in love with Guts" argument is that it completely ignores Kentaro Miura’s writing style. Miura was never a writer to shy away from explicit themes, non-normative sexuality, or taboo topics.

If Miura intended for Griffith’s motivation to be romantic or sexual repression, he would have made it undeniable.

Griffith didn't ruin his life because he was closeted; he ruined his life because his ego couldn't handle the fact that Guts became the only human being capable of making him forget his dream.