Why did Miura decided to add more comic reliefs and comedy as the series progressed on especially by the end of Millenium Falcon arc?

[blood and puck]

Millenium Falcon is my fav berserk arc for a multitude of reasons. It’s possibly the pinnacle of berserk’s art, worldbuilding and character writing. The climax is still this day, the most breathtaking climax I have ever seen in any manga. But one thing which I found odd is how the comedy or light hearted moments and comic relief character increased as the series progressed on…

So, I am not here to complain that comedy doesn’t suit berserk or that it “ruins” the story. No, those are baseless comments.

Its undeniable that comedy was always a part of berserk right from the very beginning. From the dark fantasy setting of Conviction and Black swordsman arc, Berserk always had room for light hearted hilarious moments but why did Miura really “toned down the story’s overall atmosphere by adding more light hearted moments in the story?” It isn’t bad but is there any specific reason for this? Or did Miura sensei’s taste changed from the overall dark gritty world of berserk to a rather mix of light hearted, wholesome moments and darkness?

Some points I could think of-

• It symbolizes how Guts life is changing for the better. Berserk’s overall atmosphere and tone of the story reached its “darkest points” whenever Guts was at the lowest in his life. When he had abandoned everything for hatred and revenge. Where he had nobody to bring any sense of levity to his life. Where he dropped himself into literal hell…. But when he opens up, begins to confront his trauma. His life changes. And this change for the better cause also adds a ton of light hearted, hilarious comedic moments.
• It can also mean how Griffith’s reign is making the world a utopia. Griffith, the ultimate (false) savior/messiah is saving everybody like a real Disney story. A cruel dictator and a beautiful prince in an epic battle which will decide the fate of the world and how with the victory of the prince, everyone started to live happily ever after?

Then, there is also introduction of many comedic relief characters….

Puck is definitely the main comic relief of berserk. Now, of course It would be a crime to say Puck was just a mere comic relief considering how integral was he in the black swordsman arc and the mini lost children segment to guts’ character and even saving his life many times….

Isidro too is on the same book. He is not a mere comic relief and in fact added/contributed to a lot in the group. He is a kid in a cruel world where he aspires to become a great swordsman like his idol, the legendary 100 man slayer(Guts). He has to prove everytime that he is worthy and capable of surviving on his own.



Magnifico-Usually, two comic reliefs are enough for any story but introduction of Magnifico increased this number. Magnifico unlike the above two, isn’t a multi-faceted character or has multiple roles to play. He is a typical incompetent aristocrat who plots some cunning plans and ends up failing in them hilariously which does make him at least a decent to good comic relief but sometimes, I wonder whether having him in the story as a comic relief was really necessary?



Azan is another interesting case. He was rather regressed to comic relief status considering how little of a substance we have seen of him since his re introduction in the story. He never really confronted or sit back with farnese and serpico to discuss what happened to him and the holy see after events of conviction arc which is odd. Was Miura planning on him get another motive in life? For him, the highest devotion was with the service to his job. He was stripped off to it due to conviction arc. But, Miura really just made him a “funny kind of a depressed guy?”



Isma. Its again odd to me. She is wholesome, funny but compare her to other characters like Theresia and Jill. Both of them were far more serious than her. They also do have a good amount of comedic moments but they were rather well written. Isma is hopeful and optimistic despite being isolated by villagers and a rough childhood. I find it weird that Miura made her a really wholesome character in contrast to Jill who has a lot more serious tone to her. Miura also really didn’t properly develop her to the same degree like he did with Jill?



Is there any underlying theme or symbolism by Miura sensei or did he just add these characters so that it would punch harder when the story again gets back to the dark gritty style

 

[Aazealh]

So, I am not here to complain that comedy doesn’t suit berserk or that it “ruins” the story. No, those are baseless comments.

And yet you keep making threads about it with the premise that it's somehow strange that there are comedic moments in the series. This clearly speaks to a problem you seem to have with it.

Its undeniable that comedy was always a part of berserk right from the very beginning.

Indeed.

why did Miura really “toned down the story’s overall atmosphere by adding more light hearted moments in the story?"

Who says he did? I mean that doesn't make a whole lot of sense, he "toned down the overall atmosphere"? Atmosphere isn't a quantifiable element you raise or lower. It's how a moment feels. As you mentioned just before, Berserk has always had funny moments mixed with more serious ones, right from its first few scenes. That was also the case in the Millennium Falcon arc. So, sometimes the atmosphere is lighter, sometimes it's heavier. It's as simple as that!

It symbolizes how Guts life is changing for the better. Berserk’s overall atmosphere and tone of the story reached its “darkest points” whenever Guts was at the lowest in his life. When he had abandoned everything for hatred and revenge. Where he had nobody to bring any sense of levity to his life.

Yes, comedic moments can indeed be used to show that Guts is evolving back towards a less dreary outlook on life. This is shown in volume 16 for example, during his exchange with Puck just before he's confronted by the Holy Iron Chain Knights. However it's a larger phenomenon, not one strictly limited to comedy. Fraternity and conviviality with comrades in general contribute to that feeling. This is a big part of Guts' character development in the Millennium Falcon arc as he accepts human companions again and a new group forms around him.

However, despite all of this, your premise is flawed. "Darkest" is a subjective sentiment, but one could argue that the group's visit to the Qliphoth was "quite dark" and yet that occurred after said group was constituted. The fight at Flora's mansion was also high stakes and ended with our protagonists running away before Guts fell into a coma. What you should get out of this is the fact the story beats have not really changed since the series started. There are serious moments and less serious ones.

It can also mean how Griffith’s reign is making the world a utopia.

This is an exceptionally stupid idea that nothing supports.

Then, there is also introduction of many comedic relief characters….

There are no "comic relief characters". Characters are multifaceted and can be used in many ways. They can take part in funny scenes and then in serious ones.

Puck is definitely the main comic relief of berserk. Now, of course It would be a crime to say Puck was just a mere comic relief considering how integral was he in the black swordsman arc and the mini lost children segment to guts’ character and even saving his life many times….

Puck is an integral part of the story beyond the Black Swordsman and Condemnation arcs, and the mini comedy vignettes Miura started featuring him in are beloved by many readers.

Magnifico-Usually, two comic reliefs are enough for any story but introduction of Magnifico increased this number. Magnifico unlike the above two, isn’t a multi-faceted character or has multiple roles to play. He is a typical incompetent aristocrat who plots some cunning plans and ends up failing in them hilariously which does make him at least a decent to good comic relief but sometimes, I wonder whether having him in the story as a comic relief was really necessary?

Magnifico was introduced as a way for Farnese to obtain a ship for the group, something she couldn't have achieved otherwise. He was not created as "a comic relief character". After his introduction and once the group had boarded the Sea Horse, Miura decided to use him in a number of funny scenes during the sea journey and until its conclusion. That was overall a tiny portion of story, often simply one-panel background reactions, and doesn't preclude other roles or developments he might have had in store for him in the future.

Azan is another interesting case. He was rather regressed to comic relief status considering how little of a substance we have seen of him since his re introduction in the story. He never really confronted or sit back with farnese and serpico to discuss what happened to him and the holy see after events of conviction arc which is odd. Was Miura planning on him get another motive in life? For him, the highest devotion was with the service to his job. He was stripped off to it due to conviction arc. But, Miura really just made him a “funny kind of a depressed guy?”

This is a strangely misconstrued description of Azan's character, who is not at all depressed and isn't so much devoted to "his job" but rather to his ideals as a knight. The reason he's pretending to be someone else is clearly explained: he's ashamed of his current state as a disgraced knight. That's why he's trying to stay incognito. But it seems rather obvious that he would have eventually moved past it, likely when the situation grew dire and the time called for it. For example when trouble would have erupted on the island.

As for his reintroduction specifically, Azan didn't have much to do during the journey and wasn't featured much, that's all. He did appear in some funny scenes, but that doesn't mean he's "regressed to comic relief status". He also participated in fight scenes. This simplistic line of thinking, which you adhere to despite recognizing it is flawed earlier in your post, seems to be the crux of the issue here. So I will repeat what I said earlier: characters aren't bound to a specific "status". Guts also participates in comedy moments, as do Serpico, Schierke, etc. Hell, the first scene Azan appears on (in volume 14) is a comedic one.

What it comes down to is that a story needs to have action to keep the reader interested. During a journey on a ship, that can either be naval battles, dramatic "slice of life" moments or funny hijinks. Miura expertly mixed all of these during that part of the story, as he did during the rest of it.

Isma. Its again odd to me. She is wholesome, funny but compare her to other characters like Theresia and Jill. Both of them were far more serious than her. They also do have a good amount of comedic moments but they were rather well written. Isma is hopeful and optimistic despite being isolated by villagers and a rough childhood. I find it weird that Miura made her a really wholesome character in contrast to Jill who has a lot more serious tone to her. Miura also really didn’t properly develop her to the same degree like he did with Jill?

First off, Isma is not featured in the Millennium Falcon arc. She is introduced during the Fantasia arc. If you aim to critique how the story evolves between arcs, you should at least try to know when they begin and end.

Second, your comparison of Isma to Theresia and Jill doesn't make sense. What, should all teenage girls be alike, regardless of their circumstances and personalities? Isma is a country bumpkin and behaves as such. She's got that naivety and spontaneity about her. She's also a merrow and we meet her at a very specific time of her life: she's finally getting out of that place she outgrew, she found her long-lost mother, she met cool new friends and embarked on an exciting adventure, and she helped defeat a great monster in the process. What's not to like?

In comparison, Jill is just a human girl, constrained by a difficult environment from which there is no easy escape. Her encounter with Guts leads her to reunite with Rochine and learn of her terrible choices, then to witness her death. While she couldn't follow Guts, the story leaves her hopeful and resolute to fight for her future in the world she knows, rather than to try and escape from it. I would call that wholesome. And overall, I'd say that Isma gets as much if not more development than Jill, and would have gotten more still.

But really, it seems your point is simply that Isma should have a dour outlook on life? And that because she doesn't, she's not well written? I'd chalk that up to your own immaturity and the resulting inability to appreciate the nuances of the character. Furthermore, having characters act the same because "they're of a given type" is not good writing.

Is there any underlying theme or symbolism by Miura sensei or did he just add these characters so that it would punch harder when the story again gets back to the dark gritty style

Berserk has many serious moments throughout the Millennium Falcon arc as well as the Fantasia arc. For example, the battle against the Sea God is pretty dire and features some of the most memorable horror-genre moments in the series, with a lovely homage to HP Lovecraft. Your premise here is just wrong, so no answer can be given.

 

[blood and puck]

And yet you keep making threads about it with the premise that it's somehow strange that there are comedic moments in the series. This clearly speaks to a problem you seem to have with it.

Well, apologize for posting this thread multiple times. My post wasn't getting approved, so I thought posting multiple times might get it approved. Again, i apologize.

Puck is an integral part of the story beyond the Black Swordsman and Condemnation arcs, and the mini comedy vignettes Miura started featuring him in are beloved by many readers.

Yes, chestnut puck is cute and funny but it did take some significant screen time of a more nuance version of his character.
For ex: During the fight against bonebeard and Isidro, there was a moment where Isidro was genuinely in a position where he could have lost badly. But Puck didn't happen to act maturely like you would accept him to do.

First off, Isma is not featured in the Millennium Falcon arc. She is introduced during the Fantasia arc. If you aim to critique how the story evolves between arcs, you should at least try to know when they begin and end.

Sorry for that...skipped my mind!

Berserk has many serious moments throughout the Millennium Falcon arc as well as the Fantasia arc. For example, the battle against the Sea God is pretty dire and features some of the most memorable horror-genre moments in the series, with a lovely homage to HP Lovecraft. Your premise here is just wrong, so no answer can be given.

Fine.Thanks for the response.
I was just thinking why the story seemed to have more comedy as the series progressed. But Ig it's answered anyways.

 

[Aazealh]

Well, apologize for posting this thread multiple times. My post wasn't getting approved, so I thought posting multiple times might get it approved. Again, i apologize.

That's not what I meant. You already made three threads about Puck, Isidro and Azan. And now this one. They're all about the same thing.

Yes, chestnut puck is cute and funny but it did take some significant screen time of a more nuance version of his character.

No, I don't think it took time away from anything. It fills empty spots in existing panels. And just because he does funny things doesn't mean his portrayal is unnuanced. What did take time away from more serious moments for his character is simply the size of the cast. There were new characters who needed to be developed (Isidro, Farnese, Serpico, Schierke...) and so choices had to be made.

For ex: During the fight against bonebeard and Isidro, there was a moment where Isidro was genuinely in a position where he could have lost badly. But Puck didn't happen to act maturely like you would accept him to do.

Isidro fights the pirate captain twice (whose self-given nickname is more accurately translated as "the Bearded Skeleton", by the way), and neither time does Puck act out of character.

I was just thinking why the story seemed to have more comedy as the series progressed. But Ig it's answered anyways.

Well there is more frequent comedy, mostly because Miura started to incorporate micro-skits at the margins of the story during the Millennium Falcon arc. As I said previously, the atmosphere is also generally lighter due to the larger cast of characters and the nature of the journey, but that was a necessary (and frankly almost inevitable) evolution.