The Rorschach covers have consistently been some of the best of this whole enterprise. This one almost borders on being cheesy, but I think the stellar execution keeps it grounded. Plus, I will always appreciate how Lee Bermejo followed Dave Gibbons’ example of using the cover as the first panel of the comic. This issue begins with a goon kicking in a door and, for a brief moment, the wood and his boot formed a resemblance to Rorschach in his famous trench coat and hat. And I think that’s kind of neat.
The variant cover by Chip Kidd is a fairly interesting photorealistic rendering of Rorschach assaulting someone. I know some people praise this level of violence against bad guys, but looking at the terror in this man’s face shows me that Rorschach isn’t that far off from being a bad guy himself. I really appreciate that.
I also appreciate how Brian Azzarello wasn’t afraid to show Rorschach’s weaknesses here — of which there are many. Yeah, he’s pretty good in a fight, as he’s able to escape Rawhead’s men thanks to a can of tear gas. But he’s not terribly ethical, as he steals a wad of cash from one of the henchmen on his way out. This, of course, is a blatant contradiction to his famous black-and-white absolutist moral code, but Alan Moore made sure to include many contradictions to Rorschach’s code in the original story. So I appreciate that little detail.
Azzarello also remembered to show that Rorschach really isn’t that great of a detective. After he flees Rawhead’s men, he catches a ride in taxi driven by a big fan of his. The cab driver actually says some really disturbing things, all but confessing to being the serial killer known as the Bard, but Rorschach is too preoccupied and dense to put two and two together.
While the Bard was busy killing another beautiful young woman and carving cryptic messages into her body, Walter Kovacs was awkwardly trying to find a way to thank the diner waitress for taking him to the hospital. He offers to take her on a date, even clumsily brandishing the cash he stole to prove he can buy her a dinner. The waitress takes pity on Walter and agrees to go out with him after her shift ends at 11.
Meanwhile, Rawhead decides to lure Rorschach back into his lair by parading out in the open with his prostitutes. Rorschach is just smart enough to realize it’s a trap, but not smart enough to avoid walking right into it. While he involves himself in a bloody battle (bizarrely involving a tiger), the waitress sadly realizes that Walter has stood her up. But she’s approached by a familiar face, who has a 99% chance of being the Bard. And then The Curse of the Crimson Corsair attempted to outdo itself in its grossness.
I really wish I could love this series more than I do. I was surprised by how much I found myself enjoying this issue. The best thing it has going for it is Bermejo’s stunning artwork — and Azzarello’s script gave that art plenty of room to breathe. But that’s a two-edged sword. Giving too much room for the art leaves not enough room for the story. And this is a very brief, very obvious story. And that’s a shame, too, because artwork this stellar deserves an incredible story. This … just isn’t it.
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