Griffith's arc in the Golden Age is very compelling, but afterwards he becomes a relatively static character. I don't mean that as a criticism really; he's become a god-like being detached from human emotion, so while to the people of the world he's this messianic savior figure, from his perspective he's just going through the motions to reach an end he's assumedly already envisioned from the start. Throughout the Millennium Falcon arc and into Fantasia, the most interesting thing to do with his character imo is to read between the lines of what he's actually doing. Souls going to where "they become one" sounds nice until you remember they're probably sent off to a horrifying hell vortex lol.
Anyway, to actually address the question, yes, I think so. I just completed another reread for the first time in a few years, and was surprised to find Isidro of all characters really stuck out to me this time around. I'd previously considered him to mostly just be comic relief, but his big hero moments in the Conviction arc and subsequent struggles with self-worth finding a place for himself in a group of incredible people were all really memorable to me this go around. It's understated compared to some of the others, but it made me appreciate Miura's ability to humanize even his more comical characters.
Really, I think in general Miura was just very skilled at giving his characters depth and humanity, whether they be the series' main protagonist and antagonist, or even bit players. Half an episode dedicated to Ganishka's past was more compelling to me than some entire series lol. Even as far back as the slug count—the most basic antagonist character in the series short of the snake guy from the first episode—Miura could still pry some hidden depths with him having enough humanity left to not sacrifice his daughter, showing that even if the threads of causality bring you to a point, it's still a choice you yourself make. Like Aaz said, Miura was just an exceptional writer all around.