Lore Olympus and the Art of Depicting Intimate Partner Abuse, Part One: Apollo
Apollo, the God of the Sun, Music and Medicine? More like: Apollo, Rat Bastard Who Can Go Step on a Lego.
Tags: #loreolympus #greekmythology #abusiverelationships #sexualabuse #rape #gaslighting #manipulation #impactsofabuse #Webtoon #intimatepartnerviolence
Content Warning: This blog contains themes of sexual abuse and intimate partner violence. Reader’s discretion is advised. Please consult your local crisis centre if you require any support. International helplines can be found at https://ibiblio.org/rcip/internl.html
Media representations of intimate partner violence (IPA) have a long and exhaustive tradition dating as far back as early oral traditions of the Antiques (e.g. myths and legends) to broadside ballads (e.g. Gallows Literature) and crime literature (e.g. penny dreadfuls) all the way to modern day popular culture (Carrabine 2008). Simply speaking, IPA is a form of gender-based abuse. As a cause and consequence of gender inequality, it is a gendered form of violence because it targets women more frequently and it targets women because of their gender (Davis 2007, McMillan 2007). While IPA has been “recognised worldwide as an endemic problem it is also still characterised by its (at times) hidden nature” (Lombard 2018: 3).
Yet, more often than not, the media has been distorting the reality of IPA by misconstruing statistics or sensensionalising exceptional cases. By doing so, the media sustains harmful myths about rape and IPA that minimise survivors’ experiences and excuse perpetators’ behaviours. Moreover, it continuously promotes unhealthy stereotypes of romance and love with a particular focus on excusing, if not romanticising, violence against women. Indeed, films, literature, TV shows, comic books, and videogames often normalise and encourage aggression and abuse of (predominantly) men against their (predominantly) female intimate partner (e.g. Bates 2017; Garland et al 2016; Kitzinger 2009; Lumsden & Morgan 2017; Powell and Henry 2014). For example, research has pointed out how in (romance) literature such as the Twilight franchise, Romeo and Juliet, or Anna Karenina love and romance imply possession and control rather than trust and respect (McCauley Bannar 2010; Hayes 2014; Decker & Seawright 2020). We have also seen this in countless other pieces of popular culture: films such as the James Bond franchise (Stone 2018), 500 Days of Summer, or There’s Something About Mary (Kohlman et al 2014). Even TV shows such as Friends, Pretty Little Liars (Girimonte 2021) or more broadly speaking Korean Dramas (e.g. Asoka Kenasri & Mutia Sadasri 2021) normalise and romanticise violent or abusive behaviours of one intimate partner to another. As a result, the audience is often met with the myth that gaslighting, threats of violence, and abusive acts are normal if not ‘healthy’ in romantic relationships.
When violence against women – particularly sexual abuse – becomes recognised outside the ‘romantacised’ sphere, it is, on one hand, often used as a plot device – as seen repeatedly in Game of Thrones for example – to play with oppressive male power fantasies (Samson 2017; Nelson 2017). On the other hand, it serves to perpetuate harmful misconceptions about rape and sexual violence (also known as ‘rape myths’) that excuse the perpetrator and blame the survivor (Cuklanz 2000; Garland et al 2016) including: (sexual) abuse is uncommon, its effects are exaggerated, victims must have done something to evoke the abuse (such as wearing revealing clothes or walking alone at night), the offender is always a stranger, people lie about their victimisation, and real victims would have put up a fight to minimise harms (Bourke 2007, WHO 2012). For example, Garland and colleagues (2016: 57) examined popular comic books and found that rape scenes were often accompanied by victim blaming attitudes such as: portraying the survivor “as engaging in behaviours responsible for their victimization” including a lack of fighting back or going out alone at night; emphasising that rape is always violent or involves force; and describing intimate partner rape as an expression of ‘sexual desire’ rather than control and abuse of power. Regardless of the platform, such media portrayals about gender-based abuse perpetuate violence against women to support patriarchal power structures.
However, there are cases of media that convey abusive behaviours, including IPA, in a way that explains the reality and context of abuse. One work that has done an exceptional job is Lore Olympus (Smythe 2018-ongoing). Currently in its second season, Lore Olympus is an ongoing webtoon created by Rachel Smythe following various goddesses and gods from Greek Mythology. What the webtoon does particularly well is the various ways it showcases how intimate partner abuse is perpetuated: not as a one-off incident – as many may believe – but as a continuum of various behaviours. In this blog series, we will take a closer look at three contrasting characters: Apollo, the God of the Sun, Music and Medicine and a true abusive dipshit of an immortal, Persephone, the Goddess of Spring and a fierce fighter who deserves all the happiness in the world (#TeamPersephoneXHades?), and Hades, the King of the Underworld and bestest God there is.
Apollo
This man truly has nothing but audacity. But like ALL of the audacity (insert some hegemonic masuline traits (Connell 2005) that make you wanna vomit): self assured to the point where he is just full of himself; sees women beneath him; violent; sexual aggressiveness and control towards women; emotionally insensitive; male entitlement; low empathy; hyper-competitive; ‘tough’ guy mentality etc. All of his interactions (particularly towards Persephone) showcase one or more abusive behaviours including sexual abuse (e.g. groping, sexual coercion, unwanted sexual contact, rape etc.), emotional abuse (e.g. threats of harm, intimidation, gaslighting, insults and belittling etc.), as well as controlling behaviours (e.g. isolation from friends and family, restricted access to employment or education, monitoring movements, stalking etc.) (WHO 2012). Seriously, he’s a walking, talking posterboy for misogyny and has a personality full of red flags.
“Don’t act like you don’t want this” (Lore Olympus, ep 24)
First and foremost, Apollo is a rapist.
From the beginning he shows predatory behaviour. Upon seeing Persphone, for the first time, he berates Hermes because Hermes didn’t mention she was hot (Lore Olympus, ep 21). The two men take Artemis and Persephone grocery shopping, intending to go back to the women’s apartment and eat together. The whole time, Apollo follows and attempts to flirt with Persephone. When she brushes him off, he changes tactics. She injures herself in the kitchen and while the other two are distracted, physically moves her around, despite her protests, and does not listen to her when she asks him to put her down or stop touching her. He claims he just wants to help and yet, uses the opportunity to, not ask, but tell her they should start over since he has a stressful job. Since they did not get off to the best start, he uses this chance to persuade her to relax around him and not see him as a threat.
He waits for everyone to be asleep, sneaks into her room and attacks her. He wakes her from sleep and, using her confusion and disorientation, coerces an ‘ok’ (Lore Olympus, ep 24). He takes things a step further and, without permission, begins taking photos (Lore Olympus, ep 24). Apollo, later, uses these photos as a threat when Persephone begins to talk about telling others (Lore Olympus, ep 113). As she is in school on a scholarship from The Goddesses Of Eternal Maidenhood, this threat is an example of both controlling behavior as well as image-based sexual abuse. Therefore, Apollo sexually violates Persephone three different times: when he rapes her, by taking intimate photos without consent, and then by threatening to share the images with others. Apollo is a rapist, and a predatory one as well.
“He’s has been telling you all sorts of shit about me - fucking typical. No wonder you’re so confused.” (Lore Olympus, ep 98)
Apollo is an emotional manipulator and gaslighter.
Before Apollo rapes Persephone, before they even get to her house, Apollo starts emotional manipulating her. The four are discussing her recent introduction to (the bestest) king of the Underworld, Hades. Persephone exclaims that Hades is her friend, while Apollo insists that the only reason a man like that would be nice to a girl like her is to “get in [her] pants” (Lore Olympus, ep 21).
While tending to a cut on her hand, he begins gaslighting her: “I got frustrated because you don’t seem to realize that you were in a lot of danger…This wouldn’t have happened if I had been at the party” (Lore Olympus, ep 22). Thankfully, Persephone is a strong, independent woman and stands up for herself here. Regardless of who she is with or what she is doing, she “shouldn’t have to be watched” (Lore Olympus, ep 22).
The gaslighting continues throughout season one. When he stalks her at her university, she explains that she does not want to see him. She does not want to sleep with him. She did not enjoy him raping her. Apollo, however, insists that “[she] needs to relax. [W]e just need to practice … When [she] say[s] it like that it sounds bad … [She] make[s] it sound like [he’s] a bad guy. (Lore Olympus, ep 37).
Persephone avoids Apollo until he shows up uninvited to her house. While he forces her to eat a breakfast that he cooked, she insists she is finished - with breakfast, talking and him. Apollo, however, complains that “[she] act[s] like a brat every time [he tries] to do something nice for [her]” (Lore Olympus, ep 96). He continues to insist that Persephone is lucky he is showing her all this attention and that, despite her being “B grade at the moment…[her] pedigree is still very respectable” and “[he] ha[s] feelings for [her]” (Lore Olympus, ep 97).
Apollo is not only dismissive of her feelings and wants but invalidates her reality. He wants to use her to make his own position in the pantheon stronger or more desirable. She might not have much power, “[B]ut [she’s] beautiful. [He] can work with that-” (Lore Olympus, ep 97). Apollo constantly gaslights, insults, belittles, and attempts to intimidate Persephone, every time they interact, under his delusions that he’s a “good guy”.
“I said, have another....” (Lore Olympus, ep 95)
Apollo is a stalker and controlling abuser.
Apollo figures out not only his sister’s work schedule, but also Persephone’s class timetable, then appears on campus to insist on driving her home, at a time when he could get her alone (Lore Olympus, ep 36-37). He does this without asking, without mentioning it, and without Persephone’s knowledge. She is clearly uncomfortable, quiet and shrinking away from him. Yet he acts oblivious to the fact that figuring out someone’s schedule to show up uninvited is not normal, particularly for two people who literally met the day before. It is stalking.
He imposes his own wants onto Persephone, not taking ‘no’ for an answer. First, when he rapes her (Lore Olympus, ep 24), but then again in every interaction after that; in the car, when she wants to get out (Lore Olympus, ep 37); at breakfast, when she wants to stop eating (Lore Olympus, ep 95); in public, when she wants him to stop preying on her friend (Lore Olympus, ep 113). He even gives her a nickname she does not like and continues to use it after being asked to stop (Lore Olympus, ep 37) and forcefully grabs her, when she refuses to talk to him, only stopping when Artemis enters the room (Lore Olympus, ep 38). All of these happen after he isolates her from others. He either removes her from a public location or strategically waits for her to be alone.
He attempts to control what she does and what she wears. The first day of her internship, Apollo is at her house, uninvited, and declares it is “completely inappropriate” (Lore Olympus, ep 38) that she would be working in the Underworld. He then scolds her that “at the very least [she] could wear something more conservative” (than a high-necked, long sleeved dress) in the company of another man, aka, our bestest boy, Hades (Lore Olympus, ep 38).
Apollo even uses the textbook abuser’s script: “what makes you think they’ll believe you?” He is imposing his reality over hers, his version of events is more important, more credible, more “real” than hers. She is a “B grade” goddess, while he is already an Olympian, he has more connections, more power, more influence than she does. Therefore, even if she were to report him, she would not have the support behind her that he could - and he has proof: the photos (Lore Olympus, ep 113).
Apollo is a rapist, a gaslighter, an emotional manipulator, a stalker, and a controlling abuser.
Conclusion
In the end, IPA is about power and control not about love. Apollo insists that his behaviour is founded in love and admiration for Persephone, yet, as Persephone correctly states: “[he doesn’t] have feelings for [her], just this unfounded impulse to control [her]” (Lore Olympus, ep 98). Even other gods point out that she cannot stand Apollo - Hermes immediately knows that “she can’t stand [him] (Lore Olympus, ep 22); Eros threatens Apollo with eternal loneliness if he comes near Persephone again (Lore Olympus, ep 99).
However, his behaviour is still excused and even encouraged by his immediate family. His reputation, and the reputation of Olympus, is more important to Zeus than the possibility that Apollo could have done something wrong. Persephone is a thing, a commodity, a dead fish – something to be traded off before she goes bad. Her safety, emotional and mental health, and her reputation are nothing.
Apollo neatly and happily plays his part within the patriarchy through committing and immortalising (get it, because he’s immortal) IPA. This emphasises how abuse against women is systemic even in the realm of gods, neatly reflecting the reality of gender-based violence. It is this superb contextualization of violence against women precisely because we, the audience, must recongnize Apollo as the antagonist, the rapist, the stalker, the abuser.
In Part Two, we look at the other side of the coin, Persephone and how abuse impacts those who experience it and the ways survivors may regain control. The link to Part Two can be found here.
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Image Credit
Racheal @ Lore Olympus [@used_bandaid] (2020). “I could get extremely emotional about this, but instead, here is art. #drawingwithADHD" 18 December, https://twitter.com/used_bandaid/status/1339792980211716100/photo/2