Alan Moore’s Watchmen, along with Frank Miller’s Dark Knight Returns, are probably the most influential comic miniseries ever published so far. Both were published in the mid-1980s and were milestones for comic books as a medium, and for superhero comics in particular.

Comic books, which started as a medium for young boys, had already been drifting away from its original audience, and with these two series, fully embraced the new adult nerd audience. Some aficionados will tell you this marks the point at which comics became serious. Others might suggest this is when comic creators began taking themselves too seriously. Though not at the toxic levels of woketardery we see today, after the success of these titles, the creators at Marvel and DC were unleashed to inject their cultural Marxist opinions into commercial sequential art, in increasing doses.

And here we are.

For whatever reason, somebody on X brought up the character of Rorschach recently, and whatever comment was initially made, it ignited multiple threads of debate about the character.

Moore Fanbois Miss the Point

I analyzed Watchmen 13-14 years ago, including the ironies involved in Alan Moore’s Rorschach character. Others have also noticed the ironies, and have been pontificating about them on X for the last few days. Rather than revisit what I and others have already noted, let’s look first at something Moore said:

The fact that Moore chose to depict Rorschach as a smelly incel is the evidence de jour Woketards regurgitate in order to claim that Rorschach is not a hero, but a fascist, psychopath, murderer, etc.

Moore did indeed depict him as a smelly incel. Also a freeloader, socially awkward, an apologist for atrocities committed by the Comedian character, etc. One thing this proves is that Moore was fighting the culture war long before most of his enemies even knew a culture war was underway.  (A lot of people are still amazingly oblivious to the culture war being waged against them.)

It’s quite simple. All Moore did was present a literary version of a debate strategy the leftists/SJWs/woketards have been employing for generations. They’re still using it today.

Ad-Hominem Revenge by a Gamma Writer Against a Fictional Stand-In for an Ideological Nemesis

Try criticizing the invasion in public (whether you call it “illegal immigration,” “crisis at the border,” or some more watered-down, sugar-coated term). You will be called “racist,” “white supremacist,” “xenophobe,” “conspiracy theorist,” etc.

You probably never even alluded to race, national origins, or any conspiracy. But leftists want others to believe you did. They couldn’t care less what is true or represents reality, but they know others do, and Marxists do care what those others believe. Left-wingers will always care what others believe, whether they are celebrating their 35th birthday in their mother’s basement or manning a machinegun in the guard tower of a gulag. It is precisely because they care what you believe that they will gleefully herd your family into a boxcar when the time comes.

• They have no affinity for the truth.
• They obsess about what others believe.
• They want others to hate and fear you.
• Others won’t hate you (or hate you enough) based on anything you’ve actually said or done.
• They must provide reasons you should be hated and feared.
• Name-calling, insults, and false accusations historically have instigated the hate and fear they desire.
• Those whose beliefs can’t be controlled deserve humiliation and death.

Who did Alan Moore hate? I suggest you examine the characteristics which cause so many Watchmen readers to recognize Rorschach as the hero of the story: integrity, determination, conviction in his beliefs, and veneration for what is true.

Moore recognized these traits in the right-wingers he hates so much. These qualities probably made him hate them even worse. For his cultural Marxist, deconstructive narrative, he wanted a right-wing voodoo doll to stab. He took several superhero characters who he associated with the aforementioned right-wing ideals (Steve Ditko’s Charleton characters The Question and Mr. A in particular), blended them together, and formed that voodoo doll into who we know as Rorschach.

The Secret God-King Wins Again!

Since Moore is the writer, he has control over every character and what happens in the “grim, gritty” universe he fashioned for this narrative. His objective is to make you hate and fear those who believe in objective truth, who don’t compromise with evil, and who are willing to sacrifice themselves, if necessary, to speak the truth. Hence the passive-aggressive ad hominem attacks on this voodoo doll of his own making.

Joe McCarthy might be a great example of the archetype Moore loathes so deeply. It turns out that McCarthy was right all along, but hardly anybody will admit to it because they’re still so invested in a narrative with him in the villain role. That’s how effective the character assassination of McCarthy was–and the emotional reasoning everyone was lured into. This is why Moore wrote Rorschach as a smelly, freeloading incel whose commentary triggers normies and NPCs.

Rorschach is the only character who didn’t take the ticket. Nightowl, Silk Specter and even Dr. Manhattan compromised with evil. Moore, the manipulative god of that perverse world, allowed them to live because they sold their souls. Rorschach had to die for his “sin.”

Since it is so important to Moore and other authoritarian Marxists to control what others believe, it infuriates them when we recognize the ironies, and Rorschach’s heroic attributes, despite how angrily they keep stabbing the voodoo doll.

UPDATE: Looks like other bloggers also figured this drama was worth weighing in on. Dark Herald probably cross-posted this on Arkhaven, but here’s his take on Fandom Pulse. And here’s yet another article on the topic, possibly by the very person who ignited this row. Both are worth reading. However, I was blocked from commenting and flagged as spam. Interesting.