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Berserk – 3 – The Hawk that soars ever higher

The moustache twiddling decadence caused by extended aristocracy is an issue central to the narrative of Berserk. Regardless of social standing, we all like to dream that we are destined for greatness, to achieve something worthwhile. Aristocracy exists to elongate wealth and protect respect no matter what the cost, and that often includes suppressing the common mans talent to protect one’s position.
The beauty of Berserk, and especially the Band of the Hawk, is that these are classic underdogs who dare to have ideas above their stations, chasing their dreams, doing something important with their lives. The truth, as Berserk is clearly documenting, is that anyone can do anything with their lives provided the right amount of skill and desire. It’s such a romantic concept.
Griffith, the symbolic wings of the Band’s hawk, is talented and has an unquenchable desire to conquer. Despite his peasant roots, he is the future, he is brave enough to fight for his dreams, and others are attracted to that, feel inspired by it or fear it. Most are just content to jump on his back and enjoy the flight; the Hawk that soars ever higher, the view from up there is beautiful, but Guts is different, even now it’s clear that he is a punk, and like Griffith, can never be tamed.
Guts and Griffith are at once the same and totally different, they enjoy true social freedom and unerring self belief, but Guts is a blood thirsty warrior, only looking at what stands in front of his sword, while the elegant Griffith conducts his army like one would a game of chess, his mind calculating ten moves ahead. The early fight in episode 3 between these two is particularly revealing, especially in Guts case – he is completely direct, willing to throw mud, bite, kick and punch his way to victory. He refuses to give up, and in the end Griffith is forced to dislocate Guts shoulder to win the fight, Guts could have surrendered, but replies “Go to hell”. Win or bust.
Episode three marks the end of the beginning, Guts finally joins the Hawks and we are treated to their comradery. The Band of Hawk isn’t simply a group of mercenaries looking for a quick buck; they are friends fighting for each other, dreaming of a better future, this all comes across really well in episode three. As does Susumu Hirasawa’s excellent score, combining his surreal industrial style with authentic medieval instruments and chants – the tracks “Forces”, “Guts” and “Earth” are all used during the episode, and all are essentially brilliant tunes, ever complimenting the poignancy of experiencing the journey of a lifetime.

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Berserk – 2 – Sparks fly as the wheels of fate spin

Episode two introduces us to the important characters that make up the “Band Of The Hawk” – in other words, the personalities that dominate the rest of Berserk. The dark-skinned Casca is an exceptionally talented swordsman who just so happens to be a woman. That she commands so much respect amongst her comrades suggests that her power is second to only one man. The white haired Griffith is the leader of the Hawks and a lethal warrior; his strength and ability with a sword matched only by his elegance and charisma. Men follow Griffith because they can see he is destined for greatness, he shines so brightly – the Hawk is a legend waiting to happen.
Between Casca, Griffith and Guts, you will discover the soul of Berserk, the way they talk to each other, the tense body language and variable facial expressions; it all makes for such riveting viewing. Even during this early episode, sparks are flying between Casca and Guts. I should point out that Casca is deeply in love, bordering on obsessed with Griffith – she cannot stand to see his attentions elsewhere, and every second Griffith spends talking with Guts is like another small tear ripping through her heart. She hates Guts because Griffith likes him; basically, she is jealous.
It’s obvious that Griffith is special. During his exchanges with Guts, he talks like an ageless poet. There is no doubt in his voice, no fear, just the unrelenting calm of a man who could be very well be cradling the fate of the world in his palms. Most people are in awe of Griffith, but Guts would happily spit in his face. That’s what fascinates Griffith and infuriates Casca. Guts is an enigma and uncontrollable, a man who only feels alive in the heat of battle. Nothing else matters to him. And as it turns out, nothing else matters to Griffith either, but in Guts he finds a kindred spirit.
I’ve harped on about character relationships in this post but I don’t want anyone to think Berserk is just some boring period soap opera. It can be extremely gory and exciting, as the amount of severed limbs will attest. My favourite berserk moment in this episode comes right at the beginning as the young warrior Guts stands facing a bear-like beast of a man called Basuzo, who is wielding an axe and boasting about having killed 30 people in one battle; Basuzo stands a few yards in front of Guts, mocking him about being young, small and weak. Guts simply straps on his helmet, puts his head down and smiles. It is the grin of a man filling with excitement, starring death in the face, and running head first straight into it. That is Guts and that is Berserk.