Dictionary Thesaurus Word Dynamo Quotes Reference Translator Spanish

300 (comics)

300 is a historically-inspired 1998 comic book limited series (later collected into a single hardcover volume) written and illustrated by Frank Miller with painted colors by Lynn Varley.

The comic is a fictional retelling of the Battle of Thermopylae and the events leading up to it from the perspective of Leonidas of Sparta. 300 was particularly inspired by the 1962 film The 300 Spartans, a movie that Miller watched as a young boy. The work was adapted into a film with 2007's 300.

Publication and awards

Every page of the comic was illustrated as a double-page spread. When the series was gathered into hardcover form, the individual pages were twice as wide as a normal comic. Miller's art style for this project was similar to his Sin City work, although the addition of consistent color is an obvious difference.

300 was initially published as a monthly five-issue comic book limited series by Dark Horse Comics, the first issue published in May 1998. The issues were titled Honor, Duty, Glory, Combat and Victory. The series won three Eisner Awards in 1999: "Best Limited Series", "Best Writer/Artist" for Frank Miller and "Best Colorist" for Lynn Varley. The work was collected as a hardcover volume in 1999.

The popularity on the film has boosted sales of the trade paperback edition. The 10th printing had an announced print run of 40,000 copies, with a 11th printing to follow. This is in addition to the 88,000 copies already sold since the initial volume was released in 1999.

Synopsis

In 480 BC, King Leonidas of Sparta gathers 300 of his best men to fight the upcoming Persian invasion. In what is likely a suicide mission, they and their allies plan to stop King Xerxes's invasion of Greece at the narrow cliffs of the "Hot Gates" (Thermopylae). The terrain prevents the Greeks from being overwhelmed by Xerxes' superior numbers.

Before the battle starts, Ephialtes, a deformed Spartan, begs Leonidas to let him fight but is rejected due to his hunchbacked form, which prevents him from lifting his shield high enough for the phalanx.

The Spartans and their allies successfully hold off the Persians for two days and nights. During a break in the fighting, Xerxes meets with Leonidas and offers wealth and power in exchange for his surrender. Leonidas declines, and battle continues. In his depression, Ephialtes betrays the Greeks by telling the Persians about the existence of a small pass that allows Xerxes to attack them from behind.

Learning of the Persian maneuvers, the Greeks realize their position is indefensible, but the Spartans and a few others refuse to retreat. Before engaging the Persians for the last time, Leonidas orders one Spartan (Dilios) to leave, so that he might survive to tell their story.

On the third day Xerxes has the Spartans surrounded, their remaining allies (Thespians) already dead. He gives Leonidas one final chance to surrender and kneel to him. After some hesitation, Leonidas finally complies and throws down his arms. This, however, turns out to be a ruse and Leonidas throws his spear at Xerxes, intending to kill. However, he only wounds his face. The Spartans are killed to the last man by arrows.

The story then shifts about a year later and ends as now-Captain Dilios relates the heroic sacrifice of Leonidas and his Spartan comrades to his troops before the Battle of Plataea.

Reception

Renowned comics writer Alan Moore has criticized 300 as historically inaccurate, with particular reference to the characters' attitudes towards homosexuality:

There was just one particular line in it where one of the Spartan soldiers—I'll remind you, this is Spartans that we're talking about—one of them was talking disparagingly about the Athenians, and said, ‘Those boy-lovers.' You know, I mean, read a book, Frank. The Spartans were famous for something other than holding the bridge at Thermopylae, they were quite famous for actually enforcing man-boy love amongst the ranks as a way of military bonding. That specific example probably says more about Frank's grasp of history than it does about his grasp of homosexuality, so I'm not impugning his moral situation there. I'm not saying it was homophobic; just wasn't very well researched.

Miller, in the letters page of the original series, admits the inaccuracy and defends it. He insists that the Spartans were not scholars themselves, and that the offending passage was intended to portray the Spartans as hypocrites. The Spartans, he argued, so maligned the Athenians that any Athenian action was worthy of scorn. Miller states that their hypocrisy is a character flaw, but not unrealistic.

Reviewer Aaron Albert notes that although "Miller does take liberties with the history", he considers it more of a "theatrical portrayal" rather than a "historical battle". He notes the passion evident in Miller's writing. He praised the visuals especially the use of oversized panels. Lynn Varley's painting was also commended.

References in other works

There are references to the Battle at Thermopylae in several of Frank Miller's other comic books. In Sin City: The Big Fat Kill, Dwight considers Leonidas' choice of "where to fight" and manages to loosely recreate the Spartan defense tactics by cornering the enemy gang in a tight alley; they then annihilate them with heavy gunfire and explosives. Also in Hell and Back when the protagonist is drugged he sees his friend as Leonidas with a machine gun. In The Dark Knight Returns and The Dark Knight Strikes Again, Miller's "omega" Batman stories, there are references to a character named "Hot Gates" (the literal translation of Thermopylae), an adult film star who first makes a version of Snow White, and then declares herself Dictator of Ohio.

In the Emmy Award winning episode Jack and the Spartans of the cartoon Samurai Jack, Jack meets a group of Spartan warriors fighting Aku's minions. This episode was partially inspired by Miller's comics.

Film adaptation

Frank Miller served as executive producer to adapt his work for film. It used bluescreen technology to capture the comic book feel and was released in both conventional cinemas and IMAX in 2007.