Spoiler — from the ending. Tap to reveal.
“How delightful. It might move me to tears. Love, hate, pain, pleasure, life, death. All of it here to enjoy, right before our very eyes!”
2 quotes from Berserk, each with commentary on what it means and why it stuck.
“How delightful. It might move me to tears. Love, hate, pain, pleasure, life, death. All of it here to enjoy, right before our very eyes!”
“Hmm... it's impossible to anticipate everything. We're not gods. How are we to know what will occur? But tell us, Void... was this also "fated" to happen?”
Skull Knight has escaped with the unconscious Guts and Casca when Ubik calls the event unforeseen. Slan agrees that they cannot anticipate everything and directs her question about fate to Void. That is a substantial limit on the God Hand's certainty, but it is not proof that fate has been defeated. Knowledge and control are different claims. Something can surprise these speakers without falling outside every larger order they invoke. The important reversal is that their own conversation makes room for that distinction. Slan does not explain the escape away as an outcome she knew was coming; she asks whether it was fated, leaving the question open in this exchange. Reading the rescue as a complete philosophical victory would replace one unsupported certainty with another. Its narrower achievement is enough: two people have been carried out, and the beings speaking with such authority cannot present that survival as something they fully foresaw.
Explore Berserk in book form. Check the listing for the edition, language and volumes included. The source beside each quote records where its wording was checked; it may differ from the wording in this edition.
As an Amazon Associate we earn from qualifying purchases. Links on this page are affiliate links, which cost you nothing extra. They never influence what appears on this site or what the commentary says about it.
Casca is being assaulted while Guts's attempts to reach her are forcibly stopped. Slan responds by arranging suffering and pleasure into a pleasing set of opposites. The apparent breadth of that inventory is its weakness: it drops the question of who is doing what to whom. Pain and pleasure become neighboring attractions instead of experiences distributed between a victim, an attacker, and the people enjoying the sight. The film supplies resistance plainly enough that her language cannot pass for a comprehensive description. Guts tries to intervene, Casca is coerced, and Slan watches for enjoyment. Her statement is effective as evidence of her appetite, but poor as an account of humanity. Calling everything available to the spectator does not make the spectator understand everything. The line wants the scope of a judgment about existence while refusing the basic distinction the scene insists on: an experience being visible does not make it shared. There is a fair objection that Slan is meant to reveal depravity, not offer a theory worth endorsing. But the line still reaches for the sweep of philosophical insight. Its list supplies that grand scale cheaply, by removing the people whose incompatible experiences make the scene unbearable.