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In addition to the long formative run by writer Lee and artist Kirby, Th or has had the
privilege of being crafted by some of the comic book industry’s most venerable creators.
Writers Gerry Conway, Len Wein, Tom DeFalco, Dan Jurgens, and Michael Avon
Oeming—among others—have all made contributions to the title, with artists John
Buscema, Neal Adams, Keith Pollard, and Ron Frenz having given visual shape to the
Th under God throughout his publication history. One of the most notable runs in the
series, however, was Simonson’s critically acclaimed tenure on the book as writer and
artist from Th or (Vol. 1) #337–67. He stayed on the title as a writer—and sometimes
artist—until issue #382.
Th ough Simonson’s groundbreaking run on Th or is considered to be the defi nitive
take on the character after the Lee/Kirby run, several other story arcs have made lasting
impressions on fans. “Th e Eternals Saga,” an epic tale spanning 28 issues (Th or Annual
#7 and Th or [Vol. 1] #284–300) follows Th or as he learns about the Eternals and Devi-
ants, genetically engineered superhuman races, and their cosmic creators the Celestials.
“Th e Dark Gods” takes place after the major Marvel crossover event “Heroes Reborn”
and chronicles Th or’s search for his fellow Asgardians, who have mysteriously gone
missing (Th or [Vol. 2] #1–13). Th e “Ragnarok” story arc sees the mythological end of
Asgard come to bear, with Th or and his allies locked in a fateful battle they know they
will lose (Th or [Vol. 2] #80–85).
Marking Th or’s return to the Marvel universe, the most recent run in the series (Th or
Vol. 3) has been written by J. Michael Straczynski with pencils from Olivier Coipel. It
brings with it a dramatic re-imagining of the Th or mythos, as Th or must rebuild Asgard
after the decimation caused by Ragnarok. With Odin gone, the return of Donald Blake,
Asgard transported to rural Oklahoma, and Loki taking a female form, the current run
is staking ground as a signifi cant extension and modifi cation of Th or’s narrative history.
Joshua Plencner
300. Frank Miller’s retelling of the Spartan battle of Th ermopylae in 480 b.c., 300
was fi rst published in 1998 as a limited edition comic book series from Dark Horse
Comics, and later released as a trade paperback. Here, Miller, as artist and writer, and
Lynn Varley, as colorist, undertake a major challenge of recounting the past: the ability
to interweave historical fact with a narrative that is compelling enough for readers to
accept the tale as reality.
In the opening salvo of 300 , “Chapter One: Honor,” readers are introduced to the
Spartana: resilient, harsh, skilled, and loyal combatants. Spartan warriors are the
ultimate warriors. As a band of Spartans settle in for the night, they tell tales of battles
long past and the heroic adventures of their king, Leonidas, and then drift off to sleep.
As they rest, King Leonidas reminisces about the events of the past year, beginning
with the sudden arrival of a messenger from King Xerxes of Persia. Th e messenger
sought out the King of Sparta, asking him to capitulate to the Persian Empire. Th e
answer, predictably, is not good for the messenger and his fate is sealed in the depths of
a bottomless pit.
