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.***