I have a lot of thoughts about Rorschach by Tom King and Jorge Fornés.
The first and obvious place to start is with progenitor book, Watchmen.
I do not condone the rather underhanded tactics of DC in the 80s.
That was objectively childish, and not in the way comics should be.
However I do not believe this book (Rorschach) is sacrilegious as some purists might think, I appreciate Watchmen for being a masterpiece, I however do not worship it.
Nor do I like it.
Liking something on a personal level and acknowledging the legacy, craft and sheer skill in the execution are different things.
I believe it is important to allow yourself to divorce the ideas of good and enjoyable. Let them live apart, and thrive independently.
It is a good cup of tea. Just not mine.
But this is not just about that book, its about this book.
I do fear this article will not be as structured as some of my others. Instead of flowing it might, swim. Lazily from point to point, meandering around them like a tour guide.
Rorschach, in the fiction of the world, and our own is an odd figure. A brutal vigilante with no room for shades of grey, just simple black and white, and all the Hell that brings.
It is not hidden that Rorschach, although visually striking and morally dubious in an attractive way to readers, is terrible. He is belligerent, judgemental, probably smells, and is a fascist. Despite the fact he has more in common with cyberpunk incel hackers and the problematic noir detectives of yesteryear — He does in his own way, save the day.
Not in any way that saves lives, the Octopus comes and decimates New York. But in a way that cements him, the idea, as eternal. Though he, Walter Kovacs, died — Rorschach lives as a symbol that can be moulded and interpreted however you see fit.
That’s where we’re dropped in, a year after the show, Oklahoma’s run in with the inkblot mask being just a foot note. Not enough for the mask to not be as common as a witch or zombie at Halloween. And someone has tried to kill a presidential hopeful in a Rorschach mask and get up. Alongside a young woman in a cowgirl outfit.
In the ensuing chase by the police and security, both assailants are killed.
Our protagonist, who I will be referring to as Robert, is tasked by the Turley campaign to find out who they were and why they tried to kill Senator Turley.
This is our premise, a mystery that quickly becomes something of a political thriller.
So why am I bothering with this article?
Well, I want to talk about what I saw.
Because this book, like the show and Watchmen before it, is layered. In a distinctly different way from how either other entry is. There’s a very specific voice. That of King’s.
Firstly: The cowgirl, the Kid.
What is she?
What does it mean when someone dressed up in the cloak of the Wild West, tries to kill a potential future President?
An individual with a gun, taking the law — the right to decide, into their own hands. A fanciful facade, a wishful dream to cover up the muck, blood and burned lives the expansion of the American Empire caused. All wrapped up in a cute hat and a wicked smile.
She is John Wayne and Clint Eastwood.
The girl the big man’s supposed to protect and guide through the rough world.
After all, she’s the Kid.
And he… well he’s Rorschach.
He’s… the big man, right?
No.
She already tried that, too big. Too unwieldy. Like I said, she’s John Wayne, she’s Clint Eastwood. The man in the mask, can be anyone.
Enter Will Myerson.
Former artist and creator of the wildly successful pirate book, Pontius Pirate (great name Will), as well as a more intimate less widely know book…
The Citizen.
Everyone knows Pontius Pirate, he’s a comic book, a cereal, a movie series, he probably did a Christmas album. An excellent theme song! And a so-so popsicle!
If you know, you know.
The Citizen, meanwhile is far more… political than the four coloured pirate. And draws more upon Myerson. Exposing more of himself, in his later reclusive years.
The Question is…
Why?
Why have these two symbols of America be so intrinsic to this plot?
Why start like this?
Because this book is more than just about a recognisable character. It is using the base metaphor and symbology of Rorschach to say something about the American Empire. Symbology crafted by a young taloned wizard long ago, but somehow still relevant.
As well as the comic book industry and the wake of Watchmen.
Enter Frank.
A very important step in the road of Robert, our protagonist. (Unnamed protagonist, but the name I gave makes sense). A friend of Myerson from their comic crafting days, he created a dark reimagining of the popular character nicknamed the Dark Fife. The Dark Fife Returns, was a thesis. Undercut by a real darkness, a real moment of tragedy.
The Octopus scarred Frank. Who lived in New York. It turned him inwards.
I do not need to explain who this is, like I said earlier. If you know you know. Nor do I need to describe fully how one New York tragedy can reflect another.
This is a conversation in media.
A metatextual and intertextual discussion between our universe and that of Watchmen.
I asked why start with the death of whoever is under that mask?
Because it truly does not matter who is Rorschach when. It is clear who it is. But it is irrelevant. That’s his face. Their death doesn’t stop them from haunting the book, as it swims between now and then. The Kid and Rorschach talk to Robert. Guide him. Lead him to the truth.
Now, the question of truth in a fictional universe is a big one. Because what does it matter if the world unites under a lie? Or frays under an exposed truth?
Is the Kid’s version of events more or less valid than the one we’ve known for decades?
Why are there so many guns? Guns play a major part in this story, and the answer is unfortunately very clear if you aim your attention towards the States.
But let us return once again, to State-crafting. This entire plot is based on an act of political violence, attempted assassination. The main suspects are never shown, our obvious answer. The Redford administration.
Except of course, they’ve been with us the whole time.
Isn’t that right, Robert?
If you know, you know.
All the President’s Men are in one man.
But of course, I’m just one set of eyes and one cerebrum. I can’t permutate every little thing. I am a foreigner to the United States, although its hegemony has made that notion a bit disingenuous. Still, this is distinctly, I feel…
An America looking at America.
Whilst the original was a British Brigade looking at America.
So, I’m asking you… in lieu of my common ending note of
Thank You for Reading.
…
What Do You See?
Clearly an elephant :/