Kentarou Miura (三浦建太郎) was born in Chiba City, Chiba Prefecture, Japan, in 1966. He is left-handed. In 1976, at the early age of 10, Miura made his first Manga, entitled "Miuranger", that was published for his classmates in a school publication; the manga ended up spanning 40 volumes. In 1977, Miura created his second manga called Ken e no michi (剣への道 The Way to the Sword), using Indian ink for the first time. When he was in middle school in 1979, Miura's drawing techniques improved greatly as he started using professional drawing techniques. His first dōjinshi was published, with the help of friends, in a magazine in 1982.
That same year, in 1982, Miura enrolled in an artistic curriculum in high school, where he and his classmates started publishing their works in school booklets, as well as having his first dōjinshi published in a fan-produced magazine. In 1985, Miura applied for the entrance examination of an art college in Nihon University. He submitted Futanabi for examination and was granted admission. This project was later nominated Best New Author work in Weekly Shōnen Magazine. Another Miura manga Noa was published in Weekly Shōnen Magazine the very same year. Due to a disagreement with one of the editors, the manga was stalled and eventually dropped altogether. This is approximately where Miura's career hit a slump.
In 1988, Miura bounced back with a 48-page manga known as Berserk Prototype, as an introduction to the current Berserk fantasy world. It went on to win Miura a prize from the Comi Manga School. In 1989, after receiving a doctorate degree, Kentarou started a project titled King of Wolves (王狼, ōrō?) based on a script by Buronson, writer of Hokuto no Ken. It was published in the monthly Japanese Animal House magazine in issues 5 and 7 of that year.
In 1990, a sequel is made to Ourou entitled Ourou Den (王狼伝 ōrō den, The Legend of the Wolf King) that was published as a prequel to the original in Young Animal Magazine. In the same year, the 10th issue of Animal House witnesses the first volume of the solo project Berserk was released with a relatively limited success. Miura again collaborated with Buronson on manga titled Japan, that was published in Young Animal House from the 1st issue to the 8th of 1992, and was later released as a stand-alone tankōbon. Miura's fame grew after Berserk was serialized in Young Animal in 1992 with the release of "The Golden Age" story arc and the huge success of his masterpiece made of him one of the most prominent contemporary mangakas. At this time Miura dedicates himself solely to be working on Berserk. He has indicated, however, that he intends to publish more manga in the future.
In 1997, Miura supervised the production of 25 anime episodes of Berserk that aired in the same year on NTV. Various art books and supplemental materials by Miura based on Berserk are also released. In 1999, Miura made minor contributions to the Dreamcast video game Sword of the Berserk: Guts' Rage. 2004 saw the release of yet another video game adaptation entitled Berserk Millennium Falcon Arc: Chapter of the Record of the Holy Demon War.
Since that time, the Berserk manga has spanned 34 tankōbon with no end in sight. The series has also spawned a whole host of merchandise, both official and fan-made, ranging from statues, action figures to key rings, video games, and a trading card game. In 2002, Kentarou Miura received the second place in the Osamu Tezuka Culture Award of Excellence for Berserk.[1]
Miura provided the design for the Vocaloid Kamui Gakupo, whose voice is taken from the Japanese singer and actor, Gackt.
Miura passed away on May 6, 2021 at 2:48 p.m. due to acute aortic dissection.
Lo primero y más importante es estar agradecidos por la existencia de este volumen. Es, sinceramente, casi un milagro. No es la primera vez que una obra queda inconclusa por la muerte de su autor; pasó con Dune, La rueda del tiempo o incluso con muchas historias de la Edad Media. Por eso, más allá de si este final estará o no a la altura, me quedo con la tranquilidad de saber que Berserk tendrá un cierre (o al menos eso espero).
Entiendo bien el objetivo de este tomo, y probablemente el siguiente también funcione como una etapa de transición para Guts. Los shocks que ha vivido a lo largo de su vida no son iguales: el posterior al Eclipse no es el mismo que el que viene después de la revelación final sobre Griffith. Cada uno marca procesos distintos, estados emocionales diferentes, y este volumen se inscribe claramente en uno de ellos. Por supuesto que Casca es central en todo esto, pero también está ese sentimiento devastador de que nada valió la pena. De haber pasado gran parte de su vida luchando, resistiendo y avanzando una y otra vez por amor, para que todo le sea arrebatado en un solo instante. En ese sentido, no me parece mal este ritmo más contenido. Berserk ya ha tenido arcos de transición mucho más duros de atravesar (sin ir más lejos, el del barco), así que no siento que este enfoque sea un problema. He leído a personas decir que el tomo se siente acelerado, probablemente por la pelea, pero creo que va directo al mensaje que quiere transmitir, y eso está bien. No era necesario extenderlo más ni redundar en ciertos momentos. La intención está clara y se siente honesta. Personalmente, me quedé con muchas ganas de ver qué ocurrirá dentro de esa cueva y cuáles serán los demonios que Guts deberá enfrentar a continuación.
Volví a leer los capítulos que aparecen compilados en este volumen, pero esta vez de un tirón y sin los intervalos de tiempo entre uno y otro a medida que iban siendo publicados. Este simple cambio, que es una cuestión de formato, le otorgó a la historia una mayor fluidez, lo que, en consecuencia, me hizo disfrutarla (y entenderla) mucho más. Me sigue pareciendo, no obstante, que hay una pérdida importante de ritmo a nivel narrativo, o, al menos, una variación notoria respecto del ritmo que Miura sensei manejaba. A esto le sumo el cambio (esperable) en el estilo de dibujo, pese a los esfuerzos del equipo de Studio Gaga, lo que se convierte en un constante recordatorio de que Kentaro Miura ya no está con nosotros. Y aun así, a pesar de todo lo que comenté anteriormente, valoro profundamente el esfuerzo que Kouji Mori y los discípulos de Miura están haciendo para concluir Berserk. Creo que aún es un work in progress que tiene mucho espacio para mejorar.
Non mi ero accorta di quanto mi mancasse questa storia fino a quando non sono arrivata all'ultimo capitolo, che mi ha lasciata giusto un pochino sconvolta. Può anche darsi che la trama sia più leggera rispetto ai primi volumi, ma la risoluzione sembra ancora lontana e i momenti dolorosi continuano ad abbondare. Ora l'unica speranza è che i prossimi capitoli escano in fretta.
I think it’s a mix of how absolutely hopeless the situation is, Guts reaching an all-time low and differences from Miura’s style especially in terms of storytelling becoming more and more apparent that makes me feel incredibly depressed reading these chapters.
The Party is introduced to the seemingly Indo-Persian empire of the Kushans, whom are fighting to contain Griffith's conquest war, meeting Rickert and the formidable hired killer Silat again, the latter looking more and more the new military leader of the empire after Ganishka's defeat against Falconia. Guts, though, is perceived as a bringer of bad karma and he seems to have accepted his fate, while it looks like a purification (mediated by some monks) could maybe happen... and maybe restore his broken will? Heartbreaking cliffhanger, but also hope-bearing.