Katherine Wirick recently wrote at The Hooded Utilitarian about how we could interpret Rorschach, every fanboy’s favourite psychopath, as a victim of rape. She points to the incident where two older boys threaten to take down young Walter’s pants, supposedly so as to molest him, resulting in Walter taking out some of his considerable rage on the boys. Walter was emotionally and probably physically abused, by his mother and perhaps her clients; but not raped.
I see no reason to add rape to Rorschach’s motivation or backstory when there is no real evidence for it, and a more obvious answer is literally staring us in the face. It is in the mask and the name that Walter Kovacs chose to fight what he calls crime. The Rorschach ink blot test is a psychological device designed to reveal aspects of the patient’s personality indirectly, through their own impressions. In Watchmen, it reinforces the fact that Rorschach is our window into that world, through his journal and otherwise. He is our avatar, our abyss to gaze into. For those of us used to reading American superhero comics, he is the closest (albeit warped) thing we have to the uncompromising good guy who wants justice.
What drives Rorschach is indeed the violence and sexual issues recounted by Wirick; but I have a feeling that all of those details are in Walter’s history not to paint him as a revenge-seeking victim, but rather as a Freudian superhero. I think that one of Alan Moore’s goals was to posit Rorschach in this way against Ozymandias, who is arguably the Jungian superhero: creative and self-actualized, “making himself feel” the wrongs he perpetrates in the name of the greater good. Jungian ideas (especially synchronicity) also permeate the character of Dr. Manhattan, and Jung is quoted at the end of Manhattan’s dialogue with Laurie about her origins.
If you look at Watchmen through the lens of psychology rather than trying to bend the characters to mainstream superhero archetypes, an assortment of motivations and disorders is readily apparent: megalomania, sociopathology, parental issues, repressed memories, sexual dysfunctions and more. It is not only Rorschach who is his face; most of these people are “functional” only in costume, whatever form the costume takes. The Rorschach “birth scene” where he kills the child rapist, which Wirick views as indicative of Kovacs’ own history, is more likely the kind of catharsis-through-psychosis described by R.D. Laing, whose book Knots is also depicted in Watchmen (at one point being torn in half by a minor character, as a visual echo of Ozymandias slicing through the Gordian knot).
Watchmen itself is a Rorschach test, filled with imagery and ideas that we can choose to interpret as we wish. Does Rorschach’s journal get found and reveal Veidt’s lies? Does Dr. Manhattan create a different world to try again? Is the recurring imagery of the smiley face button evidence of some creator’s plan, or merely the kind of amazing coincidence that Dr. Manhattan admires? The way we answer reveals aspects of our personality as much as any inkblot could.