With Hera second only to Zeus in status, it is curious to note that Hera is the third volume in the Olympians series, after Zeus and Athena. That may, however, say more about the publisher's choice than the author’s, for the author, George O'Connor, stresses in his Author's Note his desire to honour Hera – his favourite goddess – appropriately. He argues that reductive representations of Hera often caricature her as a shrewish wife with little personality beyond nagging at Zeus. O'Connor challenges this in Hera by providing her with stories that contain more than her relationship with Zeus and which demonstrate that Zeus is, after all, "a terrible husband." That O'Connor chose to dedicate this volume of the series to his own mother is further testament to the intention to provide a positive depiction of Hera, goddess of motherhood.
Throughout the graphic novel there is evidence of close use of ancient sources as well as innovations. When Hera grabs Zeus' beard it is reminiscent of Homer’s Iliad 4.59-60. The wedding gift of the Garden of the Hesperides draws on Hesiod (Theogony, 215–216; 517–519). Zeus finds Ares and Hephaistos "wanting." This follows traditions of Zeus' dislike of Ares (see e.g. Iliad, 5.889), although it runs contra to e.g. Hesiod (Theogony, 921–928), for whom Hebe, Ares and Eileithyia are the children of Zeus and Hera, while Hera brings forth Hephaestus alone. The myth of Io is based on ancient traditions (e.g. those found in Aegimius, 4–5; Apollodorus, Bibliotheca, 2.1.3–4; Aeschylus, Prometheus Bound, 561–886; Ovid, Metamorphoses, 1.583–750).
A high percentage of the book is devoted to the life of Heracles, but rather than squeezing Hera out of her own story this approach retells these myths with sympathy for Hera's perspective on them. It is perhaps for this reason that there is so much emphasis on Heracles' name meaning "Glory of Hera," when that interpretation of his name is uncertain (it is suggested by Diodorus Siculus, Bibliotheke, 4.10.1). The myths of Heracles' birth reflect traditions found in Homer (Iliad, 19.98-135, while Iliad 14.249–260 and 15.25 also show early traditions of Hera's antipathy for Heracles; also see Diodorus Siculus, Bibliotheca 4.9.1–4.9.4). The story of the snakes in the cradle follows Diodorus Siculus (Bibliotheca 4.10.1, with Apollodorus, Bibliotheca, 2.4.8). The section in which Jason encourages Heracles to think positively about his difficult relationship with Hera and what that has led him to is thoughtfully written and has the potential to be inspiring to any young (or old) reader experiencing hardship. This also explains the decision to make Hera the embodiment of the "hard choice" Heracles faces, when this is typically a role for Virtue or Athena (see esp. Xenophon, Memorabilia, 2.1.20–34). The characterisation of Hera as a queen who is humiliated by Heracles' successes is undermined by the stories of Hera's willingness to help him and her gradual warming to him over the course of the labours. In O'Connor's story, Heracles is compelled to complete the labours as payment for being suckled by Hera. After completing them, he is welcomed to Olympus. In antiquity, several tales were told as the origin of the labours, including the idea that they were atonement for murdering his family as a result of Hera's interference (see e.g. Apollodorus, Bibliotheca, 2.4.12 with Euripides, Madness of Heracles), and that they were the price of entry to Olympus (see e.g. Diodorus Siculus, Bibliotheca, 4.9.5–6). The decision to avoid the murder tradition softens the images of both Hera and Heracles while working the milk story in ties loose ends together.
This representation of Hera's ambiguous (rather than purely hostile) stance towards Heracles is extended by the focus on Hera during Heracles' ascendance to Olympus. It is she who takes on the role of welcoming him there from a position of power (literally on the throne and, more figuratively, as the one leading the exchange). This focus on reconciliation between Heracles and Hera is perhaps behind the decision to avoid the myth in which Heracles shot the Queen of the Gods, for example (Iliad, 5.392 ). Hera has a strong association with glory from an early stage (se e.g. Homeric Hymn 12, To Hera), so it is powerful that the story finishes with Hera confidently asserting her glory and feeling "Glorious". Hera here is a no-nonsense figure who knows her own mind and the respect that she is due yet while she can be humorous, flexible, and warm. This is a positive depiction of a mature female and step-mother figure.
O'Connor chose to follow the tradition in which Atalanta was part of the Argo's crew (Apollodorus, Bibliotheca 1.9.16) rather than excluded from it (Apollonius of Rhodes, Argonautica, 1.768–773), adding a minor but active female character (i.e. one of the few who is defined by adventure rather than motherhood). Heracles' homosexual relationship with Hylas is suggested but not made explicit, leaving it to the reader to decide what they wish to read into the subtext of their "particular friendship" (see Apollonius of Rhodes, Argonautica, 1.1207ff; Theocritus, Idylls, 13.36ff). Similarly, Heracles is depicted more as a mentor than a lover to his nephew, Iolaus. This comes across through frequent reference to their relationship ("uncle", "my brother", "your father", "nephew"), and use of "lad" which, combined with the familial terms, suggests aged-based hierarchy between them rather than intimacy. The depiction of King Eurystheus hiding from Cerberus in a large pot is an adaptation of ancient vase images of Eurystheus hiding from the Erymanthian Boar. The account of the death of Heracles is drawn from Sophocles' Women of Trachis.
Readers with little or no knowledge of classical mythology could enjoy this retelling of myths, although there are cases where pre-knowledge might make the text more enjoyable. This is the case, for example, in the myth of Io. A reader might guess that the cow is not really a cow, but it is perhaps more amusing for someone who knows and recognises the myth. That this rather sad myth is told humorously and without its sorrowful ending is further indication of the decision to depict Hera positively.
There is some sensitive treatment of the nature of myth. The final section mentions the phenomena of myths that women told amongst each other but not men – referring to the important institutions of female cults and sex-based experiences of mythology. There is also playful yet lyrical handling of the golden fleece: "Another quest, to another garden. Another dragon guarding another tree. For this was ancient Greece and the world was full of these things then." (p. 48). Room is made for multiple versions of myths – of which river it really was (p. 65), or who gave the gift (p. 10). These details encourage the reader to embrace the atmosphere and multiplicity of the mythological world rather than being caught up in details.
In terms of colouring, Hera is depicted noticeably paler than the other Olympians, presumably in reference to her Homeric epithet "white-armed" (e.g. Iliad 1.54). There are charming details regarding when Hera wears her hair up or down, reflecting the importance of this in ancient marriage rituals and customs. Heracles is depicted with quite dark skin by comparison with other heroes (or Hebe), perhaps as a way of expressing his descent from Andromeda, princess of Ethiopia, who was introduced in Athena. Grey-Eyed Goddess and who appears again here.
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