It seemed to me, however, that if comics could not address adult matters — by which I meant a great deal more than simply sexual issues — then they could never progress to become a serious and accepted artistic medium, and would never amount to anything much more than a nostalgic hobby for ageing teenagers. But I was very impressed with that. In both cases, the act of rape it is not much of a stretch to assume rape in either case occurs off the page, and in both cases the results of that forced sexual activity are hybrid children. The rape is depicted as horrific because rape is horrific, and the unflinching gaze of Moore and Burrows does not pan off the action, as Lovecraft did, specifically to show the kind of horrors that Lovecraft could only suggest. Indeed, as I remember, this is exactly the option that most of my contemporaries in the field back then tended to make their default position, since they were understandably reluctant to displease their editors and thus to jeopardise their chances of future employment.
It seemed to me, however, that if comics could not address adult matters — by which I meant a great deal more than simply sexual issues — then they could never progress to become a serious and accepted artistic medium, and would never amount to anything much more than a nostalgic hobby for ageing teenagers. The rape is depicted as horrific because rape is horrific, and the unflinching gaze of Moore and Burrows does not pan off the action, as Lovecraft did, specifically to show the kind of horrors that Lovecraft could only suggest. However, even given its scarcity in the Lovecraft Mythos, rape carries with it a special kind of horror, as in this literary universe a woman can not only be sexually assaulted by alien entities, but bear the hybrid offspring from of a Mythos entity—a situation which crops up at least twice. Indeed, as I remember, this is exactly the option that most of my contemporaries in the field back then tended to make their default position, since they were understandably reluctant to displease their editors and thus to jeopardise their chances of future employment. The rape is a sequence designed to upset people, and it accomplishes its mission well. Given his lack of bedroom scenes which would likely run afoul of the censors of his day , it is no surprise that Lovecraft says almost nothing of rape in his stories. Well, quite obviously, the safest and most comfortable option would have been to go along with a censorious status quo and simply not refer to sexual matters, even obliquely. A final line of inquiry must deal with Merrill Brears herself, in her characterization and reaction to the events of the story. Rather, she thinks that the whole human species — including herself — has justly earned the frightful coming of Cthulhu[. There is always an audience for stories, both fictional and nonfictional, that highlight sexual scandal, deviancy, and violence, and there is something to be said, given the complex spectrum of human sexuality, for literature that examines the issue of consent, or which unblinkingly examines the events and consequences of rape, both on the individuals and in the community. The question then becomes, to the degree that Moore has addressed sexual issues in his work, has he made a special focus on rape, or approached the subject in an exploitative manner which would undercut any high-minded ideals that he might espouse? But I was very impressed with that. Do Alan Moore and Jacen Burrow cross the line from sexually explicit horror to exploitation? The series [Neonomicon] can prove a truly disturbing read, but nothing is shown for its own sake, or for the sake of mere provocation. Other than this, no overt sexuality of any kind existed in the mainstream comic books of that era, with the last of the underground comix having bitten the dust during the previous decade. Rape, after all exists in the real world, and it must be considered if laws regarding it are to be passed and held up, and if the individuals that need comfort, counseling, and support are to receive the services they need. On the surface, this acceptance could be read as Brears accepting the rape as something she deserved, or that the handjob she gives to the Deep One is evidence that she secretly desired what happened to her. Good and compelling writing need not be pleasant to read, and if Moore and Burrows dwelt on the subject for longer than is comfortable, that appears to be by design to make the readers uncomfortable, not to provide fodder for cheap thrills. Sex in the Comics. Along with political and social issues, I elected to make sexual issues a part of my work. This is a horror of the physical with Lovecraft — so I wanted to put that stuff back in. Given, then, that rape is a fit subject for literature—whatever the medium—the question becomes one of treatment. Detail of Neonomicon 3, Page 13, panel 3 — written by Alan Moore, art by Jacen Burrows One of the most horrific aspects of Neonomicon is the graphic rape and sexual abuse suffered by FBI Special Agent Merrill Brears, beginning in issue 2 and continuing through most of issue 3. To my mind, the only mind I had direct access to, it seemed that such a potentially astonishing medium deserved more than this. It reads very well: Certainly, she did assume the weeping victim pose that might be expected for her; the confidence and calm that she espouses in issue 4 would then seem, at least on the surface, to undercut the trauma she had just endured.
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