"w e y do t i g e t e & s i n ev t i g e s o as t a 's a r la . t a m yo s o d 't e n i , t a m it ben yo , yo s u d a t as a r la . yo g a g de . an hi wo h e g i t al, be so h ne , t a t o , ju do t e m si t e sa n i t ri ... w a k me g is e t h tha hi l e t n a l e l . t i c ma u r e k ut a j ke yo h r a d mo te . ju k o n ha he mu c ad d o c or me ." - A$AP k
AsI’vestatedbefore,IliketousetheextendedbreakbetweenAGAVEvolumereleasestoobservewhatI’mmissinginthenextcog towards the peak of my creativity or to see what I can add to the culture that I believe needs to be discussed. And in November of this past year, I found myself tuning in to see Pharrell Williams' new animated lm titled PiecebyPiece And other than fanning the ames to my ambition and giving extraordinary insight to one of the largest artistic minds of our generation, it offered me a questionthat’sbeenapivotalfocusinallofmyworkslately.Whatis"cool"?
Iaskbecauseinseeingtheoriginsofamogulsoknownnowforhisspeci cworksinshiftingthefashionandmusicindustries,its odd to conceive that the person who became in charge of dictating what’s “cool” in the culture was also looked at for bringing the opposite during his ascension to fame. He was respectfully weird, rmly driven to capture a sound deemed unpopular by his peers at one time and failed to represent a cultural aesthetic glori ed by the community he’s from. Yet Pharrell became Pharrell. Now I don’t intend to use my limited thoughts on Volume 6’s production glorifying another entity, but the lm and by proxy the subjectofitmademeverycontemplativeonhowtentativethede nitionof“cool”standstorepresentthedreamswetakeon.
That is, the power to de ne what “cool” stands for is solely in the grasp of those willing to identify a need in the culture and push that conviction without hesitation. And I nd that the central gures, shows, movies and ideas mentioned throughout the course of the forthcoming pages all can resound with that idea. AGAVEVolume6is an intentional dissection into re-conceiving what “cool” has truly come tomean intherealm of artistry. Because ironically enough, theconcepts nowapplauded inthemainstream were at one time shunned for their oddities and abandonment for what was expected. And by learning to hone what it is that separates us from everyone else, I think we nd our undeniable strengths worth re ning and creating the new standard for what “cool”culturewillcometorepresent.
And despite the cliches amusingly evident in that train of thought, I nd myself in a vulnerable position in my pathway to achievement where that perception is worth its weight in gold. Where the aspirations for my exercises in self-expression are beginning to shift from what they were. At one point the compensation for the photographic, editorial and stylistic investments I have been making over the past handful of years had been the small connections I’ve accrued by my modest works bringing me togetherwiththosearoundme.Theroleofthestarvingartistisparticularlylonelyinthatthecreationofourpersonableworksis theonlywaywegettofeelfullyunderstoodoutwardly.Butinseeingtheenormousfootprintsleftbehindbymypredecessorsand howthey’vebeenabletoshapethelandscapeoftheculturalidentitythatsurrounds usnow,mygoalinitselfhaschanged.Notto just thrive off the passive symbiosis of those who come across my work, but to make the work the forefront of the culture. Be informedbyitandgenuinelygiveintothoseaspectsthatI ndmyworkcouldtakerootin.
Iwanttomoveforwardbelievingthatmypurposeisnottoscarilyobscuremytalents,buttochallengemyselflikeneverbeforeby bringingthemtothefrontlinesforalltoseeandideallyleavingthegameinadifferentplacethanwhereitstarted.Andhopefully asithasforme,AGAVEVolume6willbeyourlaunchpadindiscoveringyourpotentialtodirectthenext“cool”movement.Making magazines is cool. Orchestrating photoshoots is cool. Fashion is cool. Animation is cool. Art is cool. And my mission in gaining a betterunderstandingofthesefacts,istobea agbearerforanyofthelike-mindedfoolsouttherewhobelieveinthesamething.
IT'S GOTTA BE THE SHOES the hidden face behind cactus plant flea market 17-52 61-92
MM..FOOD TURNS 20: THE LEGACY OF MF DOOM'S CLASSIC RECIPE
STAR WARS CLONE WARS: AN EPIC RETURN TO FORM FOR MY MANS - MADLIB'S TOUCHING FAREWELL
MATT REEVES' THE BATMAN: THE PROMISE OF SOMETHING DIFFERENT
berserk:
DRUNK TALK WITH EGYPT
MM: What was the biggest obstacle in production,seeingasthoughAGAVEVolume6 hasbeenroughly7monthsinthemaking?
EGYPT: Ahugeroadblockformewasgetting outofthecreativeshadowofAGAVEVolume5. ItreallypushedmeandatthetimeIthoughtit wasthepinnacleforwhatIcouldmakefroman editorial standpoint. So when the ceiling is perceivedtobeso rm,ittookmeawhileto deconstruct that thought and try to bring somethingdifferenttothetable
EGYPT: Notbyanystretch.Ithinkachallenge is healthy otherwise I’d be reproducing the samethingeverytime.It’slikegettingbackin thegymreally.YourememberyouroldPR’sand thinkit'simpossibletoreachthatlevelof tness againButonceyoudirectyourenergyoreven openyourselfuptotrainingthroughdifferent exercises, you’ll nd you ’ ve recovered your peak.
EGYPT: It's raised some ideas in me. It's nostalgictothinkofthattermespeciallygiven my background. I don’t think I’m someone who’severcheckedthatboxinthestereotypical way
EGYPT: Generally,Igethunguponthetools offeredinmyskillset.LikethetoolsIuseto create, programming I’m not familiar with usingexpertlyorotherthingsthatcomeoffasa barriertosuccess.Butthatquoteremindedme thatnoskillhasgold-platingandit’stheresult ofwhereItaketheseunorthodoxmethodsthat reallymattersAndIthinkthat’sadopethingto haveincommonwithacreatorIlookupto.
MM: Whatroledoesyourfaithplayinyour creation?
EGYPT: VeryfundamentalI’maveryspiritual person believe it or not, and I think that creative elds,morethananyother,requirea beliefinsomethingbiggerthanyourself.
MM: Whatdoesthatmean,whycreativityofall things?
EGYPT: Becausemyworkisnothingmorethan anofferingtothedivineThey’reskillsgranted tomethatI’mindebtedtopolish,showcase, inspireandrepeat.Thatcorethoughtiswhat savesmefromtheinevitablelowsthatalways hitwhenyou'retryingtomakesomethingof yourself.Andit’salsoareminderthatGod’s paintbrush is brandished on everything, so thereisalimitlesspoolofinspirationatall moments
EGYPT: Inalotofways,yesButinothers,lifeis stilllife Advancingthroughyour20siscrazy becauseeveryoneolderswearstothetimeyou havelefttodevelop,whileeveryoneyounger standstodampenthechildishromanticismyou maystillhave.Ifeeldirectlyinthemiddleright now,andadmittedlyfeelanurgetotakemy efforts to the next level before wasting my youthonthingsnotfundamentallyimportant tome
MM: That’sanunderstandablethoughtprocess. The effects of age are often demanding, especially as we cross societally signi cant milestones Butdon'tyouthinktheemphasis onarbitraryconceptslikeageservetomake youdevaluethejoyofthejourney?
EGYPT: Wow,actuallythat’strue.It’srealto wanttogrowintothepersonyouoftendream ofbeing,butIguesswhenyouaddpressureto thatcausebasedonthingslikeageyoustrip away the innocent enjoyment and useful lessonsbroughtonbytheroadtoourgoals AndinthatwayI’mtryingtogrowupKnowing what I want, yes, but smiling more to appreciatetheadventure.Notforcingthingsto tmyascensionandappeasemyinsecurities butpatientlyentrancingmyselfwithmydaily stridestonotonlybeingarealizedcreatorbut human.
MM: Andasafan,that’swhatIloveabout AGAVEIt'sveryreminiscentofbeingakidand gettingexcitedaboutalltheselittlethingsin this otherwise big world that bring me happiness.
MM: Wellsaid,welponthatIguessweshould toast to the sixth chapter of yungEgypt’s AGAVE.I’massumingwewon’tseeyouagain untiltheseventh?
EGYPT: Youneverknow.Kenpaiandthanksfor watching.
"what we wear."
"LongLiveVirgil."
I’ll admit to hearing these words in November of 2021 following the death of the iconic Louis Vuitton Artistic Director and wondering to myself what the big deal was. Sure the brand Off-White was still at the peak of its power in cultural relevance and his collaborations with Nike had resulted in a never before seen convergence of designer footwear and high fashion, but the man responsible for these power moves in the fashion industry was nothing more than a silent silhouette to me. So in seeing the outcry of sorrow afforded to his untimely passing, I’ll admit to being confused at what the true loss was beyond the saddening end to the meteoric run of a man who put together a couple of good pieces. But, with the benefit of hindsight, I can admit to looking too plainly at the situation in that instead of questioning why these numerous celebrities and leaders in differing creative fields were grieving, I should have looked deeper to ask myself what is it that one man could have meant to cause all these artistic savants to pause their lives to honor him. The longer I trek down my creative path, I begin to see a common individual who was able to unite brilliant new-age marketing and definitive brand identity under one banner. A man who understood the shifting tides of the fashion industry and helped pry open the doorways for street culture and urban symbolism to leak into avenues they were at one time shunned from. He was intentionally observant, childishly wondrous and unmistakably influential for those who would follow after him. His name was Virgil Abloh.
So what exactly did Virgil represent to the creative space? His role in the cultural zeitgeist ventures further than the occupational positions he inhabited. He became a beaming figure of liberated creativity who had mastered the art of connecting dots of what is cool in the urban consciousness and combining them with his work. Virgil demonstrated that there was no linear path to success in any artistic industry as his background and hobbies were equally as integral in positioning him for greatness as any other contemporary artistic director. His range of directorial input was expansive and never became relegated to one thing, he was always bringing a distinct flair to projects outside of fashion that further layered the identity of whatever he produced. His works became less identifiable for the namesake of the brand and more for the irreplicable touch of the artist.
Despite his eventual acclaim, Virgil started his fashion venture off as nothing more than a mere student. His parents, being Ghanaian immigrants, had no particular stake in anything centered around art and his mother was a seamstress by trade. His formal education was centered in architecture & engineering, and yet he found himself working at a basic print shop in Chicago by his late 20s. There was no pre-paved route that miraculously drove Virgil to his career in clothing apart from his devout love for urban culture and a mentality that welcomed tedious studiousness before profound mastery But intertwined with his commitment to learn were passionate practices that emboldened the flexibility of where he could take his work. Skateboarding, DJing, graffiti painting and the culture associated with each gave Virgil a unique stance in who his work could cater to, and stylistically how to best reach them. Although unorthodox, these pivotal pieces of his past gave birth to the most valuable question imparted under Virgil’s reign. What is a brand?
The brand became the main tool to individualism and distinction in Virgil’s arsenal. He knew the power of being intentional of who you were marketing towards, infusing the best parts of your inspirations, and how to be daring in the best ways art should. He pushed the perception of artistic identity through his omnipresent work with collaborators and defining the aesthetic of what culturally relevant streetwear for the 2010s and beyond would become. He resurged countless creative fields including his direction on the Kanye West and Jay-Z joint album Watch the Throne, his work with Kanye's creative agency DONDA, his DJ collective #BEENTRILL# that doubled as a clothing partner for many up and coming streetwear brands, all of these projects leading to his most renowned creative benchmark OffWhite.
WHO W AS VIRGIL ABLOH
Off-White became the grail to Virgil's quest for imbuing all of his external interests into a cohesive vision able to amaze those in the upper crust of the fashion industry as a brimming new gateway into the next era of style while offering widened doors for urban cultures entry as the marquee look set to define the following decade. It was an ambitious barrier disassembly that curated iconic collaborations and silhouettes that would reach staggering mainstream popularity, serving to push Virgil’s name sake to that in a class of its own. And one can’t mention his pioneering work at Off-White without bringing up his monumental pairing with Nike. Though in no way could Off White be defined as just a shoe distributor, Virgil’s reimagining of several classic Nike sneaker configurations were one of a kind in becoming the grail for everyone in every field. The shoes became a marker for nostalgia, wealth, creativity and freeing rebelliousness all wrapped in one, allowing its success to vastly stretch from the feet of those occupying CEO suites of the nation's most affluent corporations to the soles of your average inner-city teenage shoe fanatic There were so many different aspects to each new piece put together that were able to connect with someone, and that shared love resulted not only in the renaissance of streetwear but many burgeoning new opportunities and exposure for Virgil. Most identifiably so, his burgeoning role at Louis Vuitton.
In spring of 2018, Virgil would stun the fashion world by becoming the first person of African descent to helm his own Louis Vuitton menswear line, becoming the company’s new Artistic Director. For perspective, in the history of fashion, the number of people of color chosen to lead major french fashion houses which represent the peak of refinement and elitism offered in the industry was scarce to say the least. And in light of this historic selection, the world still welcomed Virgil with open arms and exuberant expectation for where he would be able to bring the brand that had wavered in its ingenuity over the past several years. And during his time there, Virgil offered a necessary aura of refreshing artistry and intrigue unmatched by Louis Vuitton’s competitors at the time. Whether that be his insistence on opening the doors for collaborators or his dedication to honoring the heritage of Louis Vuitton’s brilliant ancestry, Virgil changed the game at the biggest stage and had a forward momentum to continuously push what was expected bringing a unique sense of excitement to the fashion world rarely offered.
And despite the numerous accomplishments, professional achievements and mastery of so many different fields, I think that Virgil has come to be remembered most as a teacher for those who followed after him. Virgil dedicated so much of himself to instructing prospering creators through his process and how to bring their true selves into their work. Whether it be his recorded presentations, “Everything in Quotes” lectures, or walkthroughs with creators, Virgil never presented himself as unreachable or his feats to be unattainable. He was human and always came off as a genuine fan for the nature of creativity rather than a chosen embodiment of it. In a similar way how his high level pieces were marketed to every crack within the gambit of clothing lovers, he too never isolated his wealth of knowledge to any one bracket but let a deep fountain of his brilliance flow for anyone who wanted to listen. He was a true savant in doing what was cool at an unimaginably high level and wanted everyone to both understand how he elevated himself there and make their own unique impression on the world in turn. And now I have come to understand that it is this love for the culture of art and expression that jolted the immense sorrow and celebration across so many different fields because in that same way Virgil never limited himself to one category. And that curiosity and ability to bring people together with the work he was able to create, is the integral part of the man that will never die and continues on from the heights of new artistic endeavors inspired by his legacy down to the meek words in these pages. His life represents an all encompassing effort of studiousness, self-love and wonder that achieved in cementing to the entire world one thing. Virgil was here.
"FOR
ME, THE ONLY THING I TRULY AM IS A CREATIVE PERSON. I HAVE IDEAS ACROSS ALL CATEGORIES."
STARRING
THE TRUE MAN' , S WORLD RINGO ROADAGAIN
"Find the path of light! The shining path that one must tread...these are societal values, and also a man's values. They used to be synonymous in the past but currently...the two are not necessarily one and the same. The man and the society are completely different ideals now, but the true road to victory requires embracing a man's values...and you should be able to see it now...continue the race and find out for yourself the path of light. That is what I will pray for. And I thank you. Welcome to the true man's world."
"what we hear."
MM.. FOOD
A “classic album” is an illdefined trademark that the listening masses are quick to throw on any creative body of work that moves them. But what makes a classic? Be it sales records, cultural impact, or genre-wide innovation, we try to add objective science to these deliverances of artistry that impact our minds and souls. And no matter how hardened these arguments are, you’d be hard pressed to find a body of work the culture deems a musical staple that applies to each one of those conditions. However, regardless of the infinite criteria we choose to throw at each new project attempting to stake their claim as a classic, one undeniable factor that has always been held synchronically with the “classic” banner is an album’s ability to stand the test of time. Hence why when the anniversary of a highly touted project appears, it's worth holding a skeptical lens over to see if the hype still resounds from something so beloved in its heyday.
That brings us to Mm..Food
An indisputable underground hip-hop staple by the late great MF DOOM that turns 20 years old this year. And despite the degradation that has happened to many artists’ catalog over the passage of time, it's rare to see a musician's perspective on life and music become more refined and accurate the more time builds on the project. And despite the album's unassuming appearances, I think Mm..Food is worth studying in how some drunk guy with a mask created a two decades old masterpiece without leaving any crumbs.
TURNS 20
Coming off the heels of Madvilliany (another all-time album deserving of its own feature one day) MF DOOM ended 2004 with the release of his second solo studio album under the persona of MF DOOM. And what better way to immerse the early-2000s hip-hop fans who were being spoiled with the likes of Ludacris’ double platinum album The Red Light District and Kanye West’s debut juggernaut TheCollegeDropout, then by making a concept album all about food. Needless to say the direction DOOM chooses to take is always an outlier so contrary to his peers and Mm..Foodis a premiere demonstration of that fact. It’s a message so core to both the music and the musician that the “look” doesn’t matter, and greatness isn’t about what you see but rather what you feel. And that is why despite the outcast characterization given to the DOOM character or even his underground perception throughout his career, as soon as the album starts all perceptions of meekness and oddity are washed away by herculean demonstrations of creativity and irreplicable rhymes.
The danger with concept albums is a musicians' inclination to limit the diversity of topic matter as to fit in the theme of whatever the pre-established concept is. But this album succeeds most in using the mashup of food-centric elements as a gateway to discuss so many avenues of the culture through ingenious word play and double entendres. Take the opening track Beef Rap, which could’ve easily taken the avenue of being a half assed song on how DOOM was the best rapper or simply neglect the food theme after the first few lines. But DOOM spoils listeners with non-stop references, incomprehensibly fun rhyme schemes and a message that shoots down the ever popular ‘rap beef’ culture that happens to persist in hip-hop unlike any other genre.
And in keeping with this album’s greatest upside, I think this project gives listeners the best look underneath the mask of the real mind behind MF DOOM, Daniel Dumile. The multitude of characters Dumile embodied during his career makes the line blurry on where the man stops and the Villian begins, but certain tracks on this album allude to the real human behind these works which is admittedly scarce in his discography. Whether it be tributes to his late brother through Kon Karne, his outlook on friends and love through Deep Fried Frenz, or his frustrations with what the industry has devolved into noted in the previously mentioned BeefRap, for the first time in his discography since his debut album Operation: Doomsday, it felt as though we were hearing Dumile from a first person ' s point of view And with lesser artists, that could break the illusion of character built up but in Dumile’s case it only adds to the tragedy and necessity of the mask. A man unmoved and unwanted by what has become of the life in the music business and now only seeks to oppose it. I find the segment at the end of Deep Fried Frenz to be the most telling of what led to the conception of such a provocative character that can capture the most imaginative aspects of Dumile’s life while never leaving behind the traumatic experiences that led him there.
But ironically for the villain, this album is more than think pieces and criticism of the larger world. More so than any other phrase, I’d characterize it as charismatically wacky There’s a playful atmosphere maintained by the phenomenally orchestrated production and seamless use of cartoonish sampling that keeps the project on a constant high with its tone. DOOM served as the main producer on majority of the tracks, and the beat instrumentals that simply play through like Filet-O-Rapper and Gumbo, truly stapled his productional wits as one to be reckoned with and has been extraordinarily impactful in shaping the next generation of underground rap. There are few better uses of sampling in music than what is displayed, as even the cartoon snippets added to tracks do more to build the lore and feel of who the character of DOOM is. Cult classic songs like OneBeer, Hoe Cakes, and Rap Snitch Knishes have distinct value for their ability to not take themselves too seriously and make infectious melodies from topics no one would’ve expected to be compartmentalized through a food metaphor.
I find the work of MF DOOM and the making of this album to be a valuable case study on the reach of creativity and independent vision. And perhaps that’s the factor of this project that emits the sense of timelessness. 2004 is one of the most iconic years in the history of rap, so how do you have it to where not only one but two of the most revered albums of that year are by an artist whose face is hidden from the public eye? I think the fanfare surrounding the 20th year anniversary of Mm..Foodis bittersweet, because the music collective feels overjoyed to give arguably one of the best rap musicians to ever live their flowers but there’s still a shallow bitterness that the respect earned by such a revolutionary legacy won’t be able to reach MF DOOM in the living. But therein lies the generational profundity of Mm..Food, in that the value of its merits were never found in how many people were able to hear it but the inspiration it aroused in listeners to move forward and be okay with being the outlier too. There’s no topic, flow, look or idea that is too outlandish to have value regardless of what everyone else might be doing. And to me, that’s how you make a classic. Anyone can win over the ear, but very few can move the heart. And Mm..Food, now for 20 years, has found a way to ignite a passion within listeners so hot, that you better bring your potholders.
"what
we enjoy."
berserk
A demonstration in healing
An interesting juxtaposition found in the manga industry is that of the two primary classifications used to separate series demographics, that being the distinction of a Shonen versus a Seinen series respectively. Wherein both still provide grandiose and imaginative escapism meant to serenade the reader, the age demographics chosen to do so are completely different. Shonen publications are targeted more towards your typical pre-teen boy, so the contents usually feature subject matter that appeals to that selected group. This includes censorship of inappropriate content and usually a more optimistic through-line in the series as a whole. This applies to titles like OnePiece, Naruto, DemonSlayer, etc. that although have free reign to feature a darker tone on occasion, put more emphasis on championing the human spirit as a solution to the negative events in their story Seinen series, targeted to an older demographic, have greater leeway to delve into topics and stories that aren’t always comfortable and are able to lend themselves more to some of the darker facets of the human imagination. By no means limited to nudity and vulgarity, Seinen titles do much to appeal to an audience that has in essence grown past the childish commodities of Shonen and want something that could feed their adult centric struggles that are experienced in the everyday.
Enter Berserk Authored by the legendary Kentaro Miura, Berserk is to many at the pinnacle of literary storytelling and perceived as the gold standard for Japanese literature. This series is a wave of emotion, chaos and horrors definitely catering to a more mature cohort. But among the bountiful strengths I find prevalent in Berserk, none such have appealed to me as directly as the main character Gut’s progression throughout the series’ now three decade run. Guts represents to me, a perfect symbol for those transgressing through the pains of adulthood and his maturation is not just one of thematic significance but of vital exemplification for how to grow from your past in finding healing in the promise of the future. Aided by the late Kentaro Miura’s persistence to never belittle his audience and always pull deeper into the human psyche, this is a breakdown of how Guts came to represent turning our internal traumas into stoic peace.
It is no exaggeration to say that Guts, in his path through the narrative contents of Berserk, has transgressed through some of the most damaging events I’ve witnessed in my experience with the art form. And what makes these events so impactful, as opposed to just being some horror-focused series that aims to punish the main character to create artificial conflict, is that all the negative events experienced by our protagonist are informed and strung together so well you feel you are watching the occurrences of someone’s real life play out. From his origins as an adopted orphan, frightening battles as a child mercenary, and all the way through his meetings with the Band of the Hawk, Guts’ lifetime is treated with respect and engagement that make you attached and understanding of the troubles he’s battling with internally In building the foundation for the now iconic character, Miura never forgets the scars that formed Guts’ personality but always makes sure there’s a real human operating behind the mask of a brute. Guts wants connection, reliable comrades and a dream of his own to propel his life in a worthwhile direction. And it is his missteps in achieving these things that impact him early on more so than any fantastical enemy within the story. Watching the entire saga of his life to early adulthood, we the reader understand and connect with the small challenges of Guts’ psychology as we can relate to feelings of abuse, loneliness and aimlessness that are staggering on our path to becoming functional adults. However, one could argue that Guts’ route towards true character progression only begins after the events of the Eclipse.
Without spoiling too much, the Eclipse is one of the most infamous events to occur in the history of manga because of the inhuman mastery of Miura’s art, the truly evil nature of the acts that take place and because it serves as a turning point in the story for Guts. His stead as a mutilated swordsman who clads himself in black armor begins here. Put more simply, he is at a turning point in his development wherein he is driven to a corner, perceives himself to have nothing else to lose and commits himself down a road where selfharm and rage become his new everyday. And before diving more into how this mentality affects Guts, I think it's fair to mention how this mentality is representative in the traumas we face as well. Beyond the pages of fiction, I find that most of us choose to go a similar route in lashing out from the turmoil that our worst days are able to bring us. Guts is simply a reflection of the hurt and anger that we occasionally use to mask our own wounds, choosing to pinpoint the source of our hurt as the center of our being. Guts, similar to a lot of young adults, uses the events of the past to define him and would rather spend the rest of his days harbinging on what went wrong as opposed to collecting the shattered fragments of his past and growing beyond the hurt it's caused him.
Berserk is about this journey, and the slow changes that develop in Guts’ growth into adulthood that we can analyze and apply to the numerous traumatic battles we all fight through in route to becoming our ideal selves. The story of Berserkis truly one of a kind in identifying the opportunities life gives us to become better versions of ourselves, and puts the onus on the individual to choose healing over fury And the adventures of Guts displays that although this journey is costly, one could find themselves on the other side with everything they ever wished for as long as the conviction to be better is there. That is why the same burdens that push our hero towards the breaking point of physical erosion and mental deterioration also push him to appreciate the new bonds and opportunities in front of him. The benefits of his growth only become available to him once he realizes there are still, and will always be, something worth fighting for that stops him from foolishly throwing his life away to the despair evident in his path. And it is this nuanced and grounded sense of hope that should make anyone realize that we create our own light in the darkness of life’s traumatic events, and by seeking to move forward, we put ourselves in a position to take from the lessons in our past and become better people as a result.
“The thing about hatred.., it’s the place where people who can’t look sorrow in the eye without waverin’ run off to. Even more than a blood rusted sword, vengeance is somethin’ you soak and sharpen in blood. You sink the blade called your heart deep into blood in order to fix the nicks called sorrow. The more you sharpen, the more it rusts, so you sharpen it again. In the end, all that’s left is a pile of rust and scraps.”
BERSERK, Chapter 129
This quote given in observation of Guts’ development is paramount to understanding the errant ways people generally take maturing through the negative events of life. Mainly by making an enemy out of life itself, constantly needing to be on guard or resentful to the events of what was. However, shown through Berserk is such a distinct embodiment of healing that pushes Guts to weigh what the retribution of the past means towards the new life he’s able to build for himself. Coming to question whether he will let the sorrows of his past ultimately destroy everything he’s made for himself since then. In turn we see the development of a quieter and more calculated lead that still moves with active ambition towards his goal but is more level headed in living in the now with both his friends and the status of his life. A quiet confidence develops that knows things will get better, and that fact distinguishes him from the needless bloodthirst and obsession that once defined him. And this belief isn’t limited to the drawings on page but to the real existence we work through in our lives. Miura’s dedication to showcasing these unimaginably grotesque circumstances only further illustrate his belief in human perseverance and development. That we are by no means shackled to the depressing happenstance of our origins, and that there is an omnipresent opportunity to purge ourselves from those restraints and grow And that to me, is the true maturity that the dark fantasy of Berserk taught me to strive for, as the necessary virtue of light can often only be found in the darkest of places.
NEVER STOP DREAMING PRAYING SCRAMBLING CREATING WISHING PRACTICING REFINING FIGHTING WANTING MAKING PURSUING STRATEGIZING SEARCHING WORKING THINKING
BECAUSE...
YOU NEVER KNOW WHO'S WATCHING.
Are you prepared to do what you're doing when it ain't cool no more?
That's a passion, like you know what I mean, like what i'm doing necessarily ain't cool no more. Writing rhymes and shit as a 40 year old man, that ain't cool you know...for some, its cool for me, I'm good with it...
Like whatever the hot genre is right now and everybody's doing it, are you gonna prepared to do that when it ain't cool no more and when you like a weirdo doing that?
It might be somebody right now in their house, a 60 year old man that's still doing disco. That shit ain't cool no more but he love that shit and I gotta salute that man for that. - KA
