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The dynamic and turbulent relationship between Guts and Griffith, the leader of the Band of the Hawk, forms the primary focus of the manga for the first thirteen. Apr 19, Quiz Show Manga Gets 2nd Stage Play; Jan 3 Mr. Osomatsu Anime Film's . When it comes to calling Griffith the perfect villain, I'm not here to justify the Spoiler warning for all three anime adaptations of Berserk as well as the .. reflect all the raw, beautiful, and terrifying aspects of human relationships. Caska's relationship with Guts is so wholesome and adorable now. Guts and Griffith's bromance is a bromance unlike any other. Judeau is the spiritual wingman.
For example, it was implied that Griffith gave Guts purpose and was the reason why he ultimately decided to leave the Band of Hawks which consequently was the catalyst to every catastrophe that occurred but we never got an understanding of why Griffith was specifically crucial to Guts' ideology. Was it because of Griffith's redefinition of friendship out of mutual respect? Was it because Guts idolised Griffith? Couldn't be the former because that contradicts everything Guts aspired to be independent, honourable, tenacious etc and it couldn't be the latter because Guts wanted to be on equal terms with Griffith.
It's just moronically written nonsense. Also, why couldn't we explore any dynamic character interactions between Guts and the Hawks besides his forced romance with Caska if the climax of Guts' character arc was his betrayal of the Hawks in order to "find his own path"?
There's also the suggestion that Griffith had sexual desires for Guts with no explanation during his sex scene with Charlotte. Once again, an example of pretentiously implemented adult subtext. Now to be fair, examples of mature subtexts implemented correctly can also be found such as the King's lust for his own daughter; adds a layer of psychological complexity and gives reason for his actions isolating the young princess from others but they don't matter in the grand scheme of things.
What does matter is the antagonist and Griffith himself is a walking contradiction; he believes friendship can only exist if both members are on equal terms even if the other person is in direct opposition to his dream, but then considers Guts an enemy after his formal decision to leave the Hawks. Therefore his transition to a full-blown deity, albeit visually stunning and powerful, doesn't make any internal sense because his "sacrificial" plot-device is completely unwarranted.
This not only lessens the impact of the climax of the Golden Age Arc but it's also an indication to why the writer relied over-excessively on adult subjects such as torture, rape etc to carry the dramatical impulse of the finale.
- List of Berserk characters
An ironically childish method of storytelling if you ask me. There is a disjointed sense of tone after the Golden Age Arc where the themes of comradeship, idealogical clashes, art of war, existentialism etc abruptly transition to demonic cleansing, survival of the fittest and satanic redemption. This blatantly fogs the sense of direction for the narrative as there is no longer a set goal or overall objective for the main characters besides the terribly cliche revenge motive for the protagonist.
At a point where a grim reaper appears out of nowhere to provide LITERAL foreshadowing through expository dialogue with the main protagonist to introduce the reader to a more expansive world, you know that's just poor storytelling.
I despise divulging in 'What If' scenarios but Berserk really could've been one of the greatest fictional pieces of our time if the writer was a bit more talented and put much more effort in executing his brilliant ideas. This laziness is especially apparent in Berserk's coincidental form of storytelling; I. I'll end the review with the most positive thing I can talk about: It's simply the most artistically integral and engaging Manga to date besides Vagabond.
It's a painfully human moment, but it's even more disturbing to see him succeed at this repression. Casca is much more shocked by how quickly he regains control and becomes all reassuring smiles again than she is to learn what he did.
And so should we be. At the time of Guts and Griffith's second duel, the war is already won. Enemies at court have been subdued or disposed of, and Griffith has been raised to the peerage. It's all simple scheming and charming himself into the line of succession from here, with no further need for Guts' particular talents. After years of idolization and success, Griffith has become used to the idea of himself as the infallible savior, detached from all those fragile humans he holds in the palm of his hand.
But simply losing control over Guts isn't what causes him to lose his composure.
Berserk, Vol. 8 by Kentaro Miura
The first instance of inner monologue we get from Griffith marks this moment as Golden Age's peripeteiaforeboding the significance that Guts' departure will have on Griffith before he is even defeated. We've seen Griffith show a side to Guts that he doesn't share with anyone, thinking it would be too much for even the other Hawks to handle.
With Guts, he can be honest, even going so far as to seek his approval on decisions. The best friendships form between self-sufficient people, and when Guts leaves to find a dream of his own and become truly self-sufficient, it turns out Griffith was the dependent one between them. Griffith's no good without you! He doesn't know his own heart because he so thoroughly perfected the practice of compartmentalizing his emotions years ago and never looked back.
Because he never considered the possibility that he would care about someone else more than his dream, this suppression of his own human nature initiates his fateful demise. While the remaining Hawks cling to the broken dream of someone they've lost but can't continue without, Griffith clings to one thing only during his long year of suffering: I've always found the idea that torture drove Griffith to an insanity that caused the Eclipse to be unconvincing.
He doesn't get visited by the God Hand because he lost his mind, but because the wheels of causality are spinning faster after the point of reversal.Guts & Griffith - The Driving Force Behind Berserk
Griffith is sane when his first instinct is to strangle Guts upon being rescued, giving up only when Guts begins to cry. He's also sane when he resents Guts and Casca creating their own campfire without him, not knowing how much presence he still takes up in their minds. He's equally sane when he wants to end his life over all this pain but fails, and so I would say he's very sane when he makes the decision to sacrifice the Hawks.
If the laws of causality dictate that man is only to be toyed with, then his child must confront his destiny by embracing evil. And to do that, we need to look at the arc omitted from both Golden Age anime adaptations: Berserk begins in medias res for several reasons, which are important to "appreciating" the events of the Eclipse.
Beginning the story with the Black Swordsman Arc hammers home the inescapability of fate that comes up incessantly throughout Golden Age. We already know that Guts and Griffith are doomed, and because of that knowledge, we can spend the Golden Age focusing on the question of if they are doomed no matter what they do.
While the anime series shows us the inevitable outcome, it withholds the crucial human aspect behind the bounds of fate. Fate is a deeply depressing concept because we feel ourselves to be free, our future to be open, and our will to be in control. We need to believe in free will, because if there were no such thing, how could anyone ever take responsibility for their actions?
So Berserk gives us the Count, a disgusting excuse for a former human being, who makes the choice to go to hell instead of sacrificing what he loves the most at a crucial juncture, erasing any doubt about Griffith's culpability in the Eclipse.
While Griffith is no mere Apostle, truly ordained for bigger things by the God Hand, he is still a man. Even if man is doomed to fate because he doesn't have full control over his own will, embracing evil because you can't handle fate's cruelty is still a choice itself.
But it is the children of men who choose it. Determinism doesn't exist on such a micro level in Berserkas the God Hand themselves confirm not knowing every link in the chain of causality. The thematic conflict between fate and free will isn't the only one weakened by omitting the Count's story from adaptations. Griffith's own human conflict is so central to the plot that it saddens me to read fans say that he was always evil, that he could sacrifice the Band of the Hawk as cobblestones to pave the road to his dream because he never truly cared about anyone.
It's telling that the God Hand appeal to Griffith's aptitude for compartmentalization by making him believe that the Hawks would approve of being sacrificed; it's the kind of justification that resonates with him because those are the lies he's always told himself.
Berserk: Why Griffith is the Perfect Villain
But even that is not the reason for the final words Griffith speaks as a human being. It must be someone important to you, part of your soul Someone so close to you that it's almost like giving up a part of you.
By making such a sacrifice to demonkind His story exists for the sole purpose of establishing the rules and gravity of what happened to Griffith. Griffith can and will sacrifice Guts because he cares about him, not because he doesn't. Just as the God Hand tell the Count to bury his fragile human heart and transcend humanity so he will no longer know sorrow and despair, Miura cuts to Griffith pondering his destiny in the Golden Age.
Even if his fate is already preordained, the reason for his inhumane choice is an utterly human one. He must sever this bond for the God Hand's rationalization to work on his mind; he must choose to rid himself of pain.
When Guts once again comes running to the rescue, Griffith finally reaches his moment of anagnorisiscompleting the thought that initiated the Eclipse.
Berserk, Vol. 8
He will be reborn as Femto in a crowning, vicious, and deeply human moment of gut-wrenching sadness. The chain of causality that led him to this point wasn't the hand of God hovering above, but Miura's brilliant character writing. He put his characters through hell, but he never betrayed their integrity as they formed friendships, animosities, and co-dependencies to reflect all the raw, beautiful, and terrifying aspects of human relationships.
Griffith doesn't sacrifice Guts because it was foretold by fate, but because he sees it as the necessary choice to preserve the meaning of every action he'd taken in the past. It wasn't excusable for anyone, but it was inevitable for him.
Truly great villains aren't caricatures of evil, but complex human beings, and being able to see their humanity within unspeakable and unforgivable crimes makes them all the more poignant — and scary.
Finally free from his humanity, Griffith should be in control of his will at last, yet his first act as a supernatural being is to take away everything he claims to have given Guts and Casca, choosing to break them without any discernible necessity. Clearly, this newborn member of the God Hand isn't quite as detached from his twisted human heart as he might have thought.
It's abundantly clear that this is as personal for Griffith as it is for Guts. To run away from yourself! You threw away your humanity!