Representing Sexual Violence in Rachel Smythe’s “Lore Olympus”

Sexual violence can be very difficult to talk about, let alone visualize. But “Lore Olympus” by Rachel Smythe finds thoughtful ways to both talk about the subject and visualize it, in part by using the comics medium to center emotional effects. 1/14

*CONTENT WARNING* The thread that follows contains imagery and discussion of sexual violence against women. Please exercise all necessary caution in reading the following threads.

The representation of sexual violence in pop culture is complicated in part because of its frequent reduction to a trope–that is, a form of generic shorthand, inserted into stories as an easy way to generate pathos or underscore the immorality of a villain. 2/14

In superhero comics, sexualized violence often serves male protagonists, whose emotional journeys are motivated by violence against female friends, family, or love interests. For reasons discussed below, this trope has become known as “fridging.” 3/14

Visual texts also run the risk of presenting sexual violence in a titillating manner that can implicitly sanction the appeal of rape fantasies and thus, the appeal of rape itself. Many films, television shows, comics, and video games have been criticized in this regard. 4/14

In “Lore Olympus,” the main character, the young goddess Persephone, is sexually assaulted by Apollo, who is the brother of her roommate, Artemis. While the scene is emotionally harrowing, Smythe chooses not to picture the act itself, focusing instead on visualizing Persephone’s feelings. 5/14

These feelings are complicated by Persephone’s growing awareness of her general desire for sexual contact, activated, in part, by a romanticized encounter with Hades. Persephone’s attraction to Hades has her questioning her vow of chastity and wondering if she wants to rebel. 6/14

But even before the assault occurs, it’s clear Apollo doesn’t respect Persephone’s desires, forcing physical contact that her friends–and Smythe’s art–clearly recognize as uncomfortable. In short, Apollo is operating from a position of ignorance & entitlement associated with toxic masculinity. 7/14

As such, when Apollo forces an encounter, there’s no room for Persephone to think or protest after her initial, confused submission. Apollo also peer-pressures her into submitting and she’s not enthusiastic, thinking, about her supposed choice: “It feels ugly. But at least it would be mine.” 8/14

Persephone quickly realizes she wants to stop, but due to a combination of inexperience and power dynamics (in addition to being her roommate’s brother, Apollo is revered throughout Olympus), she isn’t sure how to say it. She feels she *should* enjoy what’s happening. But clearly doesn’t. 9/14

But despite Persephone’s confusion, Smythe’s visualization makes it extremely clear that the act is deeply wrong & harmful. Here, Persephone’s vulnerability and distress are emphasized by cowering and distressed postures while wearing a white dress and isolated in a dark, cavernous space. 10/14

These metaphorical visualizations of Persephone’s emotions also represent her ultimate traumatic dissassociation, which is described as a choice (of sorts) to preserve her safety and a measure of power. Persephone’s interior monologue reminds her to not let Apollo see her cry. 11/14

The wrongness of the encounter is also observed by the empathic powers of Hera, wife of Zeus and queen of Olympus. This exterior commenter, who is older and more experienced than Persephone, underscores and lends objectivity to Persephone’s reactions. 12/14

While undoubtedly one of the most difficult scenes in the series, the depiction of sexual assault in “Lore Olympus” ultimately becomes a vital teaching moment, with lessons to offer diverse readers with different types of experiences. 13/14

For some readers, this scene can affirm emotions they’ve already had, helping them understand their right to agency and consent. For others, this scene can reveal the devastating psychological harm of sexual violence, which is too often dismissed as limited to its physical effects. 14/14