V for Vendetta is a British graphic novel written by Alan Moore and illustrated by David Lloyd Initially published. V for Vendetta book. Read reviews from the world's largest community for readers. Remember, remember the fifth of November A frightening and. Set in a futurist totalitarian England, a country without freedom or faith, a mysterious man in a white porcelain mask strikes back against the oppressive overlords.
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V For Vendetta New (New Edition Tpb) by Alan Moore, , available at Book Depository with free delivery worldwide. Need help with Book 1, Chapter 1: The Villain in Alan Moore's V for Vendetta? Check out our revolutionary side-by-side summary and analysis. "The thing I'd be most interested to see in the comments from the group is the reaction to the fact that when Alan Moore wrote V for Vendetta.
That pleased me. That gave me a warm little glow. According to Time , the protesters' adoption of the mask has led to it becoming the top-selling mask on site. The film allegedly inspired some of the Egyptian youth before and during the Egyptian revolution. On 23 May , protesters dressed up as V and set off a fake barrel of gunpowder outside Parliament while protesting over the issue of British MPs' expenses.
During the Occupy Wall Street and other ongoing Occupy protests , the mask appeared internationally  as a symbol of popular revolution. Artist David Lloyd stated: On 17 November police officials in Dubai warned against wearing Guy Fawkes masks painted with the colours of the UAE flag during any celebration associated with the UAE National Day 2 December , declaring such use an illegal act after masks went on sale in online shops for 50 DHS.
From Wikipedia, the free encyclopedia.
This article is about the graphic novel. For the film adaptation, see V for Vendetta film. For other uses, see V for Vendetta disambiguation. For the salt pan in Utah, see Bonneville Salt Flats. V for Vendetta collected edition cover, art by David Lloyd.
David Lloyd Tony Weare. Includes new foreword from David Lloyd Jan Surridge's apartment. Poisoned by V in Bk 1 Ch Main article: V for Vendetta film.
Further information: Guy Fawkes mask. Masculinity and Monstrosity in Contemporary Hollywood Films. Palgrave Macmillan. Here, Creedy not only bullies but delights in reminding Finch of his marginalized status as a mongrel according to long-standing English prejudice against the Irish, as well as Norsefirean standards for racial purity.
Chillingly, in this small exchange, we also discover that Norsefire chose to release its deadly virus on Ireland, no doubt yet one more effort by an English ruling class to pacify that uncooperative island. Specters of Anarchy: Literature and the Anarchist Imagination. Algora Publishing. I believe in survival. In the destiny of the Nordic race.
Anarchist Studies. Archived from the original on 6 October V for Vendetta offers a clever, insightful look at the rise of fascism. The fascist 'Norsefire' party takes advantage of the power vacuum which occurs as the liberal British state collapses in the aftermath of the nuclear war. Hyperink, Inc. Britain, however, survives under the cold, watchful eye of the Norsefire government, a fascist regime that took control amidst the chaos and confusion after the war.
Archived from the original on 14 May Retrieved 25 October This is typically "nationalistic" sentiment V for Vendetta, Book One: Europe After the Reign. Vertigo DC Comics. My name is Adam Susan. I am the leader. Leader of the lost, ruler of the ruins. I am a man, like any other man I am not loved, I know that. Not in soul or body. I have never known the soft whisper of endearment. Never known the peace that lies between the thighs of woman.
But I am respected. I am feared. Because I love. I, who am not loved in return. I have a love that is far deeper than the empty gasps and convulsions of brutish coupling. Shall I speak of her? Shall I speak of my bride? But she sees all. Sees and understands with a wisdom that is Godlike in its scale.
I stand at the gates of her intellect and I am blinded by the light within. How stupid I must seem to her. How childlike and uncomprehending. Her soul is clean, untainted by the snares and ambiguities of emotion.
She does not hate. She does not yearn. She is untouched by joy or sorrow. I worship her though I am not worthy.
I cherish the purity of her disdain. She does not respect me.
She does not fear me. She does not love me. They think she is hard and cold, those who do not know her. They think she is lifeless and without passion. They do not know her. She has not touched them. She touches me, and I am touched by God, by Destiny.
The whole of existence courses through her. I worship her. I am her slave. The Rise and Demise of Marvelman". Back Issue! TwoMorrows Publishing Comic Book Resources. Archived from the original on 25 May Retrieved 5 September Archived from the original on 24 March Retrieved 1 May Inside The Mindscape of Alan Moore".
Ninth Art. Archived from the original http on 20 October Retrieved 6 April The Beat Interview. Interviewed by Heather MacDonald. Mile High Comics. Archived from the original on 4 April Retrieved 29 October Raleigh, North Carolina: Archived from the original on 2 June Retrieved 2 June Archived from the original on 25 July Retrieved 1 May — via www.
Warrior V for vendetta as cultural pastiche. V for Vendetta and Universidad de Castilla-La Mancha. Archived from the original on 8 March V for Vendetta. New York: DC Comics , Strangers in a Tangled Wilderness. Archived from the original on 12 September Retrieved 2 May Box Office Mojo. Archived from the original on 6 June Retrieved 2 October Archived from the original on 12 January The last angry man".
Archived from the original on 1 September Retrieved 30 August Archived from the original on 7 May A Conversation".
Archived from the original on 24 May Retrieved 14 July The Daily Telegraph. Archived from the original on 5 October V for Vendetta and OWS". Psychology Today. The New York Times. Retrieved 20 July Entertainment Weekly. Archived from the original on 15 February Retrieved 24 September Archived from the original on 18 October Retrieved 23 August V for Vendetta:: Retrieved on BBC News. Archived from the original on 29 May Occupy Sydney's faceless leaders".
The Sydney Morning Herald. Archived from the original on 22 June Archived from the original on 21 January Gulf News. Archived from the original on 11 February Moore, Alan [1st pub.
Murray, Chris March 15, And threrefore, My own personal opinion is that this is his masterpiece in the middle of an universe of masterpieces written by Alan Moore. Not only is a strong political story but also an impressive artwork. Also, the terrorist known as "V" is one of the best characters ever made in literature. What was done to me created me. It's a basic principle of the Universe that every action will create an equal and opposing reaction. That will be all. You may return to your labors.
England prevails. View all 44 comments. Apr 23, Stephen rated it liked it Shelves: For all of the criticism heaped on movie versions of novels and other literary works well deserved in many cases , there are times when the filmmakers get it very right e. Examples of this, IMHO, would include: To that small but distinctive li For all of the criticism heaped on movie versions of novels and other literary works well deserved in many cases , there are times when the filmmakers get it very right e.
To that small but distinctive list I would add V for Vendetta as I thought the film version was superior to the print. That's not to say the graphic novel is not good. Alan Moore deserves a lot of credit for this ground-breaking, original story.
Had I not seen the movie prior to reading this, I would likely have been far more impressed with it. The stellar cast assembled for the movie didn't hurt either. While reading, I often found myself thinking to myself that I preferred the film's vision of the narrative.
V for Vendetta is a manual for rebellion against injustice
Without spoilerizing, one example of this is that I thought, in general, the character depictions were vastly enhanced, largely due to the superior casting. I mean seriously, the movie had I also think the movie more clearly defined the central plot, allowing the underlying message of the story to be delivered with more power.
To be fair, the GN had its share of moments of advantage as well, enough to make reading it worth while even if you have seen the movie. Both of these are interesting and well done.
Still, overall I found the movie was superior and I think my rating of the GN suffers a bit, unfair or not, as a result. Thus, a good read and one that I recommend View all 29 comments. Feb 15, Marpapad rated it it was amazing. I adored this graphic novel, every single page of it. If I could give it more than 5 stars, then I would.
View all 17 comments. I freaking love the movie and I love this novel!! One day I will add the pic of me in my V mask! View all 19 comments. Nov 10, Sean Barrs the Bookdragon rated it liked it Shelves: What exactly is prison? Is it just the confinement in which we are placed after crime? Or is it something more? Can we become imprisoned without being aware of it? Can we even imprison ourselves?
Perhaps even to the state? Alan Moore depicts these questions in this scary graphic novel that is set in some crazy right-winged London that reeks of fascism and corruption. Just like in Watchme Prison. Just like in Watchmen Moore shows us an alternative past that is stark and weirdly possible.
The people struggle under an oppressive regime; they have no voice; they have no liberty or identity: And, worse yet, because of the mass propaganda campaigns, intimidating armed troop patrols, and lack of freedom in general, the people are not fully aware of their own oppressive plight. They have no free will. This is where V. In the guise of a shadowy villain, the costumed rogue represents pure anarchy. His way of thought, as he himself admits, would lead to nothing but chaos.
But, anything is better than fascism, right? Despite his form of vigilante justice, he is not morally good. Do the ends ever justify the means? Anarchy is the complete lack of authority over the populace, which is what V. Indeed, what he exacts is a form of manipulative control, which is the very thing he is trying to destroy through his wave of terrorism. He is certainly a dark and complex character. Perhaps his ethos is even slightly self-defeating and contradictory. Perhaps, Moore is trying to suggest that corruption is the very essence of human nature, and that nobody is beyond it.
I think V. He represents something much bigger than himself, which is signified by his legacy. But, what this thing is destructive and extreme; his idea is not necessarily something beneficial to mankind. I much preferred Watchmen to this; it was less political and focused on human nature rather than the complex nature of politics.
I think the right reader could take a lot from this, but for me, I thought it was too bleak. There's little in the way of redemptive themes here. View all 12 comments. May 13, J. I struggled for a long time with the growing notion that conservatives simply aren't funny.
At first it seemed a silly idea, since conservatism draws from sources as varied as progressivism: Certainly they can tell jokes and be charming, but not satirical, not biting.
Subversion doesn't come naturally to them, and it should have been clear why: Conservatism relies on ideals, on grand her I struggled for a long time with the growing notion that conservatives simply aren't funny. Conservatism relies on ideals, on grand heroic notions which are to be believed in. Progressives or Liberals rely on deconstruction of these notions, which is in itself a subversion. That might not entirely explain the sad discrepancy between Doonesbury and Mallard Fillmore, but it's a start.
I feel like this difference in mode is also to blame for some of the more common critiques of Alan Moore's work. He's recently achieved notoriety as a Hollywood Gold Standard--and as the scowling, bearded mascot of rebranding 'Comics' as 'Graphic Novels' despite the fact that Moore , Gaiman, and I all prefer the original term.
As a product of this new visibility, he has been discovered by new readers, some of whom dismiss him as a subversive anarchist. I agree that he is subversive, and that he is interested in exploring violent anarchism in his works, but he has too much subtlety to be saddled with the views of some of his characters.
Critics can quickly identify attacks on their ideologies, but seem less skilled at seeing how an apparent 'progressive' like Moore simultaneously attacks his own representation of the agents of change. Rorschach in Watchmen is a parody of the superhero staple of morality by violence or is it the other way 'round?
Likewise, 'V' is meant to be flawed, fraught and difficult, and Moore invites us to question his philosophies and methods. Moore always gives his characters motives because his characters operate by their psychology: But in 'V', Moore is giving us a background to establish a motive, which is why we might end up on V's side beyond the David and Goliath trope.
Moore gives us this motive so that he can communicate his ideas clearly. We see that V's actions are accountable personally, which leads us to ask whether they are accountable socially, morally, or ethically. It is, after all, a story concerned with the nature of politics, power, subjugation, and resistance. Like a philosopher hashing out his ideas, Moore explores his theme by setting limits to focus the hypothesis. Whether V can be excused or praised outside his personal motivations is another argument, but the fact that Moore has isolated and located this argument at a point in narrative space shows his thoughtful, deliberate mastery of the form.
Like Watchmen, the film version mostly strips out this layer of complexity, and is content like the majority of action films or violent dystopias to let this personal struggle be the end of the moral question, thus reducing V to a violent hero or antihero. This idealized 'personal morality' is common not only in action movies, but in cape comics and conservatism--yet focusing on a wholly personal response precludes observing how politics works, or any grand social scale which is necessarily defined by the impersonal.
The personal is simply not important, not viable, and in the end, gets lost in the mix. The billions of personal elements counteract one another into a kind of Brownian Motion, stirring without direction, while the real forces of power move above them and alongside them, shaping the world.
Think of all the people acting out their personal moralities, proud as peacocks. You hear people talk about turning off the water when they brush their teeth despite the fact that more than ninety percent of water use is industrial. People download free-range organic despite the fact that the money still goes to the same five companies and the term 'organic' is entirely unregulated. People get self-satisfied about their Prius when five shipping tankers produce as many tons of emissions as all the cars in the world.
It is not that these personal beliefs cannot change things, in fact they often come to the forefront, but this change is momentary and complex, and hence, no great theory could be made to predict it, so it cannot be harnessed, only taken for granted by the forces of power.
The more people act personally, the more they will be taken advantage of, impersonally. It isn't surprising that critiques of Moore tend to focus on these personal, symbolic journeys, but that's simply not how Moore operates. Sympathy for his characters should be mistrusted, just as we must mistrust Milton's Satan; even with all his charm, it is the utmost foolishness not to recognize him for who he is.
You don't have to look hard to see these little subversions--these clues that something isn't right--but you do have to look. There is a fast-paced, exciting, complex plot atop it all, and it's easy to get caught up in Alan Moore's stories.
Unlike some authors, Moore won't spell it out for you, but calling him an Anarchist is an oversimplification. In interviews, Moore has said that an Anarchist state is one where the powerful rule the weak by fear and force of arms, noting that this describes every government and nation in history, no matter what florid terms are used to make such governance more appealing.
Moore may use V to present the ideal of the Anarchist, but we must remember: Which is why Alan Moore is funny. When you are quite sure that he is being serious, you can be certain that he is being funny. After all, the surest sign that we have ceased to think clearly about something is that we can no longer laugh at it.
So remember: My Suggested Readings in Comics View all 27 comments. View 1 comment. Apr 06, Lyn rated it liked it. The BOOK turned out to be a graphic novel. I asked if this was an illustrated version of the literature and searched to discover that this WAS the book. So the graphic novel sat on my bookcase for months and months while I read other books, more traditionally published. But then I learned that Neil Gaiman had published The Sandman series and I recalled fondly my high school days when I read Marvel and DC comics and I have helped to enliven in my youngest son a fondness for the comics as well and he and I have had fun as he discovered this exciting medium.
View all 11 comments. Nov 29, Bookwraiths rated it it was ok Shelves: Originally reviewed at Bookwraiths. Watchmen by Moore is one of my all-time, favorite graphic novels, so I always envisioned V for Vendetta being another masterpiece of comic writing along those same lines: Unfortunately, I was immensely disappointed by this graphic novel. Now, to be fair, I hate overtly political literary Originally reviewed at Bookwraiths.
Now, to be fair, I hate overtly political literary works. If a writer wishes to explore political themes in the framework of an interesting and compelling story then I am fine with that, but I personally do not enjoy stories that are only about politics. It preaches. It prods. It shouts at you to pay attention. He is an idol to anarchy, wrapped in pop culture coolness to make anarchism an attractive viewpoint. And to make this political theology even more appealing, Moore squares him off with the most repulsive opponent he could concoct: No matter his opponent, however, V quickly proves himself to be insane.
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Whether his insanity is mild or extensive is up for debate, I suppose, but there is little doubt that he is not going to pass a psychological evaluation without getting several diagnoses. He kills when he needs to. He blows up things when he deems it appropriate. He tortures — both physically and emotionally — his foes and friends alike when he believes it serves some greater good.
And he shows no regret for any innocents who might be harmed in the aftermath.
Revolutionary behavior, I hear some of you saying. Yet,V never seems to have any rhyme or reason to his madness. At least not one that he sticks with. There is no desire to fix the problems of the world, but rather an all-encompassing desire to unleash chaos so that it may spread in a wild conflagration until anarchy is obtained and, somehow, remolds society into a chaotic utopia.
He will aid a person one page only to set them up for horrible things to happen to them the next. The sad truth about this graphic novel is that V for Vendetta is a work of political proselytism. A piece of demagoguery whose message takes precedent over the actually story being told.
V more an avatar for anarchy than a real revolutionary attempting to better the lives of his fellow men and women. This graphic novel is not inspirational. Rather, it is just another piece of political ideology, where the writer frames the narrative in his terms so that only his viewpoint is attractive, and as such, it is better left undisturbed by those seeking a true story. View all 18 comments. Post-catastrophic dystopias were all the rage in the s.
After all, the end of the century was just around the corner, and millennialism was getting into a gentle simmer — it is now, it seems, in a running boil. V for Vendetta , published around , fits right i Post-catastrophic dystopias were all the rage in the s.
V for Vendetta , published around , fits right in there. The story is set in a fiendishly Orwellian version of Britain, turned into a sort of totalitarian Oceania after Europe has been wiped out by nuclear war. The difference with is that the protagonist is not an isolated and impotent victim. This time, it is a mysterious and androgynous ninja-like hero who speaks in Shakespeare quotes, wrapped in a Guy Fawkes costume, wearing an ever-grinning and creepy doll mask.
This faceless superhero saves a young woman from rape in the opening scene and then takes her in his underground lair, a sort of hidden museum and library, where he keeps copies of Cervantes, Dante , Goethe, Homer , Dickens, Swift, Shelley, Pynchon… the cultural legacy that has been banned by a Labour Party turned into neo-fascism and racism. It is altogether a fascinating graphic novel, that starts as a dark superhero story the closest character to V, in the DC Comics universe, is probably Batman — especially in the unbeatable albums of Frank Miller and ends up in a somewhat ambiguous way, dialogues turning into long monologues, and direct actions into memories — the evocation of the concentration camps are chilling —, dreams, metaphors, reflections, Cockney wordplay, silence.
The artwork makes ingenious and sometimes dizzying use of angles, shadows and repetitions, but the style and look are overall conventional. The book was initially published in black and white.
For some reason, the latest editions have been coloured: I guess the authors would not disavow this ideological twist: I guess it might also be read as a vindication of media manipulation, terrorism, civil unrest and political chaos — a widespread phenomenon odd years later —, which is one of the many deliberate and troubling ambiguities of this book. I watched the film adaptation by the Wachowskis, with Natalie Portman, a few years ago.
She, of course, is, as always, outstanding. I forget about the rest. View all 10 comments. Jul 09, Bryce Wilson rated it it was amazing Shelves: Like Rubber Soul it tends to get overlooked and undervalued because it's "merely" a perfect pop record rather then a artform redefining masterpiece.
V is simply put a potent piece of Pop Art. The story is bracing, the art beautiful, the way it plays with iconography of humanities past sins is simpl If Watchmen is Alan Moore's Sergeant Pepper, and From Hell his Abbey Road And in the end the love you take is equal to the number of prostitutes you disembowl then V For Vendetta is his Rubber Soul.
The story is bracing, the art beautiful, the way it plays with iconography of humanities past sins is simply genius. It's politics are more earnest then they are sensible. I find Anarchy to be a very coddled philosophy. Not because I have any great love for government, but because I side with The Joker in my firm belief that so called "civilized" people will eat eachother alive when given the slightest reason or provocation. Hell most of them do it anyway. Anyway rant ended, great book, Alan Moore Prevails.
View all 8 comments. Mar 15, Algernon Darth Anyan rated it it was amazing Shelves: Behind this mask there is more than just flesh. Beneath this mask there is an idea And ideas are bulletproof. Comic books are for geeky kids who dream of men in tights saving the world and women in skimpy outfits who swoon into their brawny arms, right?
Who takes comic book seriously? Alan Moore is not the only name to be put forward in answer to this question, but he is for me the best example of the power behind the medium. I rate 'V for Vendetta' on the same level as '' or 'Animal Fa Behind this mask there is more than just flesh. Honestly, the actual presentation of the book was uneven, alternating between brilliant script passages and stark, powerful poster-art graphics down to muddled secondary characters and slow paced detours from the main story.
But, like it says in my opening quote, the idea behind V is stronger than the execution Alan Moore was still experimenting with the medium and developing his skills in this early piece. The proof of the enduring quality of the tale is not necessarily in the success of the movie version which I liked even better than the comic , but in the recent proliferation of masked 'Guy Fawkes' anarchists who are starting to challenge their governments in their abuse of authority, and who believe in the freedom of information and the freedom of expression, with Wikileaks, Anonymous, assorted whistleblowers and antiglobalization protesters hopefully only the tip of the iceberg: People should not be afraid of their government.
Governments should be afraid of their own people. And in another place: Twists people into joyless mannequins that fear and hate, while culture plunges into the abyss. The artist uses his anarchist premise in a didactic role with V as the teacher and Evey as a stand-in for the reader , as a challenge to take a hard look at our own lives and do something about changing the world: Artists use lies to tell the truth. Yes, I created a lie. But because you believed it, you found something true about yourself The artist is 'V', who makes a spectacular entrance as the flamboyant masked justiciary in a cape who saves a damsell in distress Evey from the clutches of secret police thugs.
His introduction is a riot of wordplay and innuendo, and of course I've bookmarked it for savouring it at my leisure: In view, a humble vaudevillian veteran cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished.
However, this valorous visitation of a bygone vexation stands vivified and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition! The only verdict is vengeance; a vendetta held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most verbose, so let me simply add that it's my very good honor to meet you and you may call me "V".
I will leave the actual details of the plan and of the execution out of my review out of consideration of readers unfamiliar with the comic, only mentioning that Alan Moore did a sterling job subverting the myth of the superhero, pointing out the risks of taking the law into your own hands and the fact that destruction is necessary but not enough for creating a better world.
I'm the king of the 20th century. I'm the boogeyman, the villain, the black sheep of the family. The identity of the man behind the mask remains a mystery to me, as it should, because 'who' he is is less important than 'why' he is.
Sometimes I found his teaching methods too brutal and hard to swallow, but at the end of the journey in his company I knew him in his secret heart and I bleed for him and for my own inadequacy: With all my heart, I love you. This is the part I sometimes found confusing and less well executed, with the exception of an elderly crime investigator who still reads books and thinks outside the box.
By doing so, they took our power. By doing nothing, we gave it away. We've seen where their way leads, through camps and wars, towards the slaughterhouse.
I hope they will remain there to burn brightly as I continue my literary pursuits in other directions. My mother said I broke her heart Is that so selfish? It sells for so little, but it's all we have left in this place. It is the very last inch of us View all 23 comments. Mar 16, Sam Quixote rated it did not like it. But why is this so feted? V for Vendetta is a badly written, even more poorly conceived pamphlet espousing anarchism as the ideal political system featuring non-characters in a moronic dystopian future world with a storyline of the most convoluted revenge.
The setup: Fascism rises and the country becomes a military dictatorship, banning things like art, music, and public freedom just because, and everyone is ok with this. One of these poor souls experimented upon survives and takes the roman numeral on his door as his name — V.
V For Vendetta New (New Edition Tpb)
This man quietly builds up a hideout of contraband and weaponry as he prepares to tear down the government and begin a revolution. Ok, the nuclear war thing was a product of its time. V for Vendetta was written in the 80s when the Cold War was going on and everyone thought the nukes would start flying at any moment. So the setup right away dates this book and makes its proclamations of future dystopianism seem utterly ridiculous and hysterical - which they are.
But the rise of fascism in Britain is completely unbelievable. People in Britain will protest at the drop of a hat - a cutting of benefits in certain public sector jobs, an unfair tax, and so on.
That NOBODY would protest or stand up against the dismissal of democracy, the rise of fascism, concentration camps, strict curfews, the loss of basic freedoms, and insane amounts of prejudice and random violence from the people supposedly in charge? Or an extreme left winger like Moore.
Or both. My point is that anarchism is definitely not the right political system, but to Moore it is the perfect form of everything. Under anarchism, people are free to be themselves, live in peace, enjoy things they like, etc.
But democracy has to fail because Moore believes anarchism is the answer and so paints democracy as bad and anarchism as good. Nearly all of the characters in this book are ciphers. The detective character, Finch, is equally boring.
Oh yeah and through Finch we discover that apparently if you take psychotropic drugs in abandoned places where bad things happened, you literally time-travel and the past comes to life around you!
Except I read that scene and felt nothing. It was two non-characters making empty gestures. The story is repetitive: V kills someone who was at Larkhill Resettlement Camp, goes and tells Evie about the wonders of anarchism, Finch shows up and uselessly tries to figure out who killed the person, the Leader looks at a screen and stares at a screen. So what a daring position to take: DUH, we already know, stupid! Give the people some credit! You see what I mean? The bad plotting, non-characterisation, terrible writing, and obnoxiously moronic political posturing is like listening to a teenager wittering on ceaselessly about something that could only make sense to someone who shared his worldview, not to anyone with a considered opinion who thought for themselves.
Mar 17, Nickolas the Kid rated it it was amazing Shelves: That was a great graphic novel! In dystopian times, the UK government has taken all civil liberties from the citizens, allowing them to spy on anyone without warrant at anytime. V will stand against the oppressive and controlling British government at all costs. The masked hero V is a good crusader like Batman or Zorro, but for me and because of his relationship with Evey, he has a lot of similarities with the Phantom of the Opera.
Both are masked because of their deformed face and they have a That was a great graphic novel! Both are masked because of their deformed face and they have a score to settle View all 9 comments.
Apr 29, Laura rated it it was ok Shelves: There's political writing, and then there's political comics Watchmen, also by Moore. Pure political writing, essays or editorials or what have you, doesn't have to leave everyone satisfied.
It can leave some angry or displeased or challenged, so long as it makes its point. A political comic must not only make a clear political point, but it must ALSO be interesting in a way that is peculiar to comics: V for Vendetta is a glut of political writing stuffed into an attractive skin of art and garnished over with the platitudiest delivery I have ever had the misfortune to be exposed to outside a 50s superhero comic.
My god. It's got the same blind and senseless energy of delivery that any Superman-hurling-a-car comic would have.
This stems, I think, primarily from the fact that it's an anarchist comic, and making anarchism into a coherent and attractive viewpoint is nearly impossible, given that anarchism is probably the illest-conceived of any extant ideology.
However, because it's ANARCHISM, because the writing is coherent and cleverer than most graphic novels', because it's all draped over with mystery, because it's a well-designed book, tone and layout-wise, and because the art is fantastic, the essential failure of the book-- the fact that it lacks anything behind its shell of hyperenergetic blathering-- gets a pass. The book tries so hard to be political and symbolic it crushes itself. Premise-wise, the story doesn't make a lot of sense-- we hear that England was living in a government vacuum for several years, and that London was straight-across flooded, and that every other landmass on the planet has been nuked, AND that a nuclear winter has occurred, but for some reason they're still living in a fully-mechanized modern consumer society.
All right. All right, again. Got that. I don't know. What is Moore posing here as the only options for political ideology? What does he mean by this? Returning to a state of nature?
Gradual and spontaneous shift to democracy? End of the modern mechanized world? Spontaneous national adoption of a sort of leaderless socialist state? Moore handles his material childishly. For me, the political-apocalypse stories that WORK show the protagonists yearning after a state of leave-me-alone-let's-all-be-friends sort of political neutralism-- a state of 'let's have universal human rights and that's all please' joy.
A utopia of 'being a normal person'. Children of Men is like this. Even Watchmen is less heavy on the socialism and focuses more on the 'let's stop being persecutors and start being nice to everyone else again' mentality. Readers can therefore identify with the protagonists-- they aren't radicals.
They're just normal people trying to be normal again. But in V for Vendetta, the only way peace can be achieved is if every individual person is a politically-radical crowd member willing to use mob violence.
Not inspirational. I don't care what you think about the degree to which individuals must be political to preserve their rights.
This book makes no coherent political point and the messages it DOES articulate are comprised solely of platitudes. It fails to rpesent any realistic view of any political spectrum whatsoever. The fact is that this book reads like a poorly-contrived piece of anti-Thatcher propaganda. Which is essentially what it is.
I've read some other reviews of this book on goodreads and I've decided I have to make one point. Moore specifically has him talk about how who he is is not important. V is a big bundle of soggy political ideology stuffed up into a man-suit with a funny mask on the front. The fact that the backstory even exists sours Moore's ideological point, which is unfortunate, since the point was shallow enough to begin with. V is suppsoed to be an 'everyman', and is supposed to represent the potential in all of us to make a difference.
But how did he get like this?I asked if this was an illustrated version of the literature and searched to discover that this WAS the book. V for Vendetta by Alan Moore. He realizes that society may never find peace and that anarchy causes chaos. Book 2: This Vicious Cabaret[ edit ] Four months later, V breaks into Jordan Tower, the home of Norsefire's propaganda department, "the Mouth"—led by Roger Dascombe—to broadcast a speech that calls on the people to resist the government.
Around the Year i The narrative cuts ahead to November 6, in the morning. The woman reluctantly admits that it is. That NOBODY would protest or stand up against the dismissal of democracy, the rise of fascism, concentration camps, strict curfews, the loss of basic freedoms, and insane amounts of prejudice and random violence from the people supposedly in charge?
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