300
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- CHF 16.00
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- CHF 16.00
Beschreibung des Verlags
Die Heerscharen Persiens - eine Streitmacht, so gewaltig, dass die Erde unter ihren Schritten erzittert - stehen bereit, Griechenland zu vernichten, eine Insel der Vernunft und der Freiheit inmitten eines Ozeans aus alter Mystik und Tyrannei.
Zwischen Griechenland und dieser Flutwelle der Zerstörung steht nur eine kleine Truppe von gerade einmal 300 Kriegern.
Doch diese Krieger sind mehr als nur einfache Männer - Es sind SPARTANER!
Die gefeierte Neuinterpretation der Schlacht bei den Thermopylen gilt als eine der besten Arbeiten der Comiclegende Frank Miller (SIN CITY) und wurde mit drei EISNER Awards ausgezeichnet. 2007 lieferte Regie-Neuling Zach Snyder die kongeniale visuelle Umsetzung des Comic-Stoffs und katapultierte sich mit dem stilprägenden Fantasy-Schlachtgemälde in die A-Liga Hollywoods. 2009 setzte er nach und adaptierte die als unverfilmbar gehandelte Graphic Novel WATCHMEN von Alan Moore.
PUBLISHERS WEEKLY
The Battle of Thermopylae ranks as one of the ancient world's most important events, where Spartan King Leonidas and his 300-man bodyguard met the massive army of Emperor Xerxes of Persia, who intended to add Greece to his empire. To no one's surprise, the Spartans were destroyed. While the battle bought the Greeks enough time to defeat the mighty Persians, it was more important for the metaphor it created: occasionally one has to lose to win. This is clearly the inspiration behind Miller's attempt to place this epic tale in the context of a graphic novel. A renowned comics artist and writer known for hard-boiled stories of almost operatic intensity and stylishly overwrought violence, Miller (Sin City) injects his own brand of graphic sensationalism into this ancient tale of national survival. Miller clearly isn't as interested in being a historian as he is in telling a story, but his portrayal of the ancient world is compelling. His drawings of the bearded Leonidas are pensive and starkly imperial. The Persian King Xerxes is represented as majestically African, his body covered in a gaudy and bejeweled network of meticulously rendered chains and bracelets. Form and content are ideally wedded: Miller's writing is stark, his drawings moody and dramatic, and intensified by Varley's grimly appropriate palette of earth and blood. The reader can see and feel the harshness of both the Grecian landscape and Sparta's battle-worshipping culture, as Miller presents the complex historical moment facing the 300.
