The moustache twiddling decadence caused by extended aristocracy is an issue central to the narrative of Berserk. Regardless of social standing, we all like to dream that we are destined for greatness, to achieve something worthwhile. Aristocracy exists to elongate wealth and protect respect no matter what the cost, and that often includes suppressing the common mans talent to protect one’s position.
The beauty of Berserk, and especially the Band of the Hawk, is that these are classic underdogs who dare to have ideas above their stations, chasing their dreams, doing something important with their lives. The truth, as Berserk is clearly documenting, is that anyone can do anything with their lives provided the right amount of skill and desire. It’s such a romantic concept.
Griffith, the symbolic wings of the Band’s hawk, is talented and has an unquenchable desire to conquer. Despite his peasant roots, he is the future, he is brave enough to fight for his dreams, and others are attracted to that, feel inspired by it or fear it. Most are just content to jump on his back and enjoy the flight; the Hawk that soars ever higher, the view from up there is beautiful, but Guts is different, even now it’s clear that he is a punk, and like Griffith, can never be tamed.
Guts and Griffith are at once the same and totally different, they enjoy true social freedom and unerring self belief, but Guts is a blood thirsty warrior, only looking at what stands in front of his sword, while the elegant Griffith conducts his army like one would a game of chess, his mind calculating ten moves ahead. The early fight in episode 3 between these two is particularly revealing, especially in Guts case – he is completely direct, willing to throw mud, bite, kick and punch his way to victory. He refuses to give up, and in the end Griffith is forced to dislocate Guts shoulder to win the fight, Guts could have surrendered, but replies “Go to hell”. Win or bust.
Episode three marks the end of the beginning, Guts finally joins the Hawks and we are treated to their comradery. The Band of Hawk isn’t simply a group of mercenaries looking for a quick buck; they are friends fighting for each other, dreaming of a better future, this all comes across really well in episode three. As does Susumu Hirasawa’s excellent score, combining his surreal industrial style with authentic medieval instruments and chants – the tracks “Forces”, “Guts” and “Earth” are all used during the episode, and all are essentially brilliant tunes, ever complimenting the poignancy of experiencing the journey of a lifetime.