Three #3

Historical accounts are, at the best of times, to be taken with a certain degree of scepticism. Who tells the story is about as important as why. Upon hearing about Gillen's idea for Three I immediately jumped to a kind of weird defensive state. And like Gillen, I had a certain bias over what was being said. Whether the Spartans were what many consider them to be today or not, is kind of irrelevant to the everyday person. But to those interested, it can be a heavily debated thing. One account says this and another says that; it leaves a lot of room for interpretation.

Three takes the classic iconography of Sparta, more commonly known, and mixes it with a more accurate telling. There is much known about Sparta that is certainly myth, but Gillen, Kelly and Bellaire try to apply some fact to the fiction.

The last two issues showed much of the makeup of the world surrounding Three and begun the central conflict. Here, things are picked up immediately-- following the escaped three. The Spartans have employed a Helot tracker to assist in finding them, and more of Spartan society is explored.

The early few pages were among my favourite due to a few subtle elements. On the first page, there are these vicious dogs, practically chomping at the bit to forge ahead, reminding me of the parable told last issue about the familial dogs, one bred with the carrot one with the stick. The story told of their birthing as equals, but their differing paths. In the few panels the dogs are in, they seem muscular and stern and I felt it lent an authenticity to the surrounding world. The historical-telling was mixed with parable and immediate plot very effectively.

The relationships between the Helots and the Spartans was illustrated nicely here too-- with the tracker called upon only as 'Helot', not even by trade, let alone name. Also, there is a great panel of his face depicting the moment after the Spartan asks him if he has a family. It's drawn perfectly, showing both a fear and a knowledge of what is to come, but all he says is 'yes'. Following that, after the threat was delivered, there is a wonderful panel framed from a bloody body of a Helot. The Spartan's back is all you see of him, his cape flowing and red like the blood of the body, and his figure in shadow. The tracker is practically hanging, his head fallen and contemplative, and his face partially in shadow, before he accepts.

Not only is the hierarchy established, but the brutality and emotionless delivery gave the scene gravitas. The tracker sent to help, is a slave just like those he is following. However, the book isn't just a tale of the oppression of the Helots, it shows how the Spartan ideal victimized themselves in the process.

The idea of a 'Trembler' was established last issue and touched upon in the light of a compromise, but here it is shown the cost of that title on an individual. A 'Trembler' is essentially a Spartan who flees from battle, be it justified or otherwise. Nevertheless, it had already been told that three hundred Spartans were let off the hook due to their dwindling numbers. The creators aren't just telling you that Sparta is bad because they enslaved people, they are showing you exactly where being a Spartan got them. The character dubbed a 'Trembler' is also used to great effect as he returns to his city to meet his mother, who has disowned him-- as is the custom. It further illustrates the roles of the society; showing the mother breeding a champion horse and commanding a respect. It is a small part, but woven together with the 'Trembler' storyline made for a very smooth-read-- as well as an accurate depiction.

My problem came, however, when the story returned to the main three. I don't necessarily dislike them, but their roles seem a little too defined and almost cliché to me. Their conversation revolves around who they are, their names holding the meaning, but none of their stories seemed to hold any real significance or depth. It isn't really the story the creators are telling you see. What they seem to want is to give you a historical account of Sparta by what is actually somewhat known, but at times the characters become a little too representative of a point being made-- rather than being allowed to exist as characters.

During their scene however, there was a very nice few panels involving Damar's past, wherein she recollects the events of her husband's death in these blood-stained photographs. The photographs aren't literal, it was meant as a depiction of her memory, but I think it was very effective.

Illuminating certain aspects of Spartan culture, often left unmentioned, is a very interesting idea. The creators don't seem to be judging the events, but rather illuminating what is known and what is worth noting. The fantastic colours, separating the glorious Spartans, their cloaks red and swaying. And The Helots in their plain browns, equally uniform and identical, but smaller somehow because of it-- made the point of the enslaved and the free effectively. The world is consistent and authentic feeling whilst also smoothly guiding you through this period in history. I just hope some of the characters start to come to life a little more, because as it stands-- it is a very well-told historical tale, but without substantial characters to invest in.