“Watchmen” and the Queering of Rorschach

Whenever I teach Watchmen (which is often around this time of the semester), my students always offer up some brilliant nuggets of observation or analysis that I had not considered before. Sometimes it’s about a panel or series of panels, sometimes it’s about narrative structure, sometimes it’s historical insight. I take some pride in knowing a lot of things about comics, but I don’t profess to be the Most Knowledgeable or someone who has all the answers.


Today, I pressed them on the character of Rorschach. I got some interesting answers, among them the theory that in Chapter VI, “The Abyss Gazes Back,” Rorschach himself could be the abyss, which is interesting given the number of panels that feature Rorschach just looking dead-on into the reader’s eyes (I think there are more of these kinds of shots than in any other chapter). I’m super proud of them for coming up with that – I hadn’t considered it before. But another thing I prompted them to talk about was the queering (academically speaking) of Rorschach. Rorschach as a character is violent, misogynistic, and has a level of morality we would formally consider “grey.” All of these are typical hallmarks of comic book masculinity (at least, traditionally). But despite falling into categories of violent masculinity, there are moments in the text that challenge the categorization of Rorschach, and in this post, I’ll talk about how the queering of Rorschach assists in that frustration of categories throughout Watchmen. Whether or not Rorschach is actually a gay male is, in my opinion, impossible to determine given the evidence. Instead, I will be analyzing the homophobic slurs thrown at him as well as the backstory of his mask to argue that Moore and Gibbons use queerness as a signal of difference that informs our reading of Rorschach’s antiheroism throughout the entire graphic novel.

***Warnings for homophobia and violence below, including slurs and graphic images.***

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Dodge and Gender Identity in “Locke and Key”

To distract myself from last week’s election, I sat down and made my way through Joe Hill and Gabriel Rodríguez’s comic, Locke and Key – perfect, I know, given that it’s a supernatural horror comic. But this post isn’t about politics, nor is it going to deviate from this blog’s original vision: to critically analyze nerd media beyond evaluating whether or not something is good or bad. I’m going to plow ahead and look at my main interest (gender) in the context of this comic, primarily through the object called the Gender Key.


In case you haven’t read the series, Locke and Key tells the story of the Locke family following the brutal murder of the father, Rendell. The family moves into Rendell’s childhood home in the aptly named Lovecraft, Massachusetts, a home called “Keyhouse” where there are hidden keys hidden throughout the building. These keys open various doors and locks, all of which are supernatural: there’s the Ghost Key, which allows the user to become a ghost when they pass through a certain door; there’s the Head Key, which allows users to open up someone’s skull so that thoughts or memories can be added or removed from the mind; and there’s the Omega Key, which opens the Black Door to… somewhere (spoilers!). By far, the most interesting key to me was the Gender Key, which allows users to change gender when he or she walks through the Gender Changing Door. Our main villain, Dodge, uses this door to disguise himself numerous times, thus leading our heroes to believe an evil woman is after them when in reality, it’s their best male friend.

There’s so much I can say about this key and gender, so I’m just going to jump right in. Overall, my goal is to explore the ways in which gender shifts in this comic to force us to confront our expectations about gender binaries. The first section will analyze the origins of the Gender Key and the user’s ability to use it to escape certain societal expectations. The second section will analyze evidence of Dodge’s gender identity and investigate to what extent we can understand him as a genderfluid character.

***WARNINGS for discussion of rape, assault, homophobia, and transphobia below.***

(If I mess up pronouns, please correct me.)

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