The journey of Griffith in Berserk — from admired leader to terrifying antagonist — has reshaped how audiences think about good and evil in anime and manga. Unlike villains who are clearly evil from the start, Griffith’s story is defined by ambiguity, complexity, and shocking betrayal, making him stand out among the medium’s most memorable antagonists.
From Heroic Leader to Monstrous Betrayer
Griffith begins as an ambitious, charismatic commander of the Band of the Hawk, inspiring admiration and loyalty even from his enemies. Born into poverty, he dreams of building his own kingdom and seems like the kind of protagonist whose rise could be noble. However, beneath that charming exterior lies a deep self-interest — and ultimately a willingness to sacrifice anything and anyone for his own dreams.
This blurred line between hero and villain makes his character richer and harder to categorize. While most anime antagonists are defined by clear malevolence, Griffith’s moral ambiguity — part visionary, part manipulator — has made him a deeply compelling figure.
The Eclipse: The Turning Point
The moment that Berserk truly cements Griffith’s place as an iconic villain is the Eclipse — a brutal turning point in the story where he sacrifices the lives of his closest friends and comrades to attain supernatural power. This act of betrayal is not just strategic, it is personal and devastating, ripping apart the Band of the Hawk and altering the lives of key characters forever.
What makes this so impactful is not just the scale of his betrayal, but the emotional connection viewers have developed with Griffith up to that point. His shocking transformation from trusted leader to ruthless antagonist is one of the most unforgettable moments in all of anime and manga.
Moral Ambiguity and Enduring Influence
After the Eclipse, Griffith becomes something even more complex: the ruler of Falconia, a fortified city that protects humanity from monstrous forces while hiding dark truths about his actions and motivations. To some within the story, he appears as a savior. To many viewers, he remains a chilling reminder of ambition unrestrained.
It’s this duality — protector and destroyer, hero and villain — that elevates Griffith above many typical antagonists. He is not evil simply for the sake of being evil; his ambition, charisma, and moral compromise blur the lines between villainy and tragedy
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