V for Vendetta

I read this nearly a year ago back in January and it still left a strong impression on my mind. I can only compare to this to George Orwell’s 1984. It is a 1984 with a superhero, if V could be called that. Originally written in the 1980s it is a story about a future England in 1997 and 1998 in which the government has become tyrannical and authoritarian with a sole dictator on top who is obsessed with his computer dictating to him things by chance. As powerful and smart as those within government think they are, one lone vigilante suddenly challenges all that. What’s incredible is that our hero goes about doing what he does while singing, rhyming and throwing out witty slogans. This shows the incredible genius of the writer Alan Moore and he even manage to alliterate each section of the book with the letter V. Incredible. As our hero carry his subversive campaign to undermine the evil government and cause the people to rise up we are also drawn into the story in learning more of the mystery of the origin of V and his motivation to fight the regime. Although the story does have a bit of the left leaning taste there is still a powerful lesson about the dangers of statism.

I originally read the DC/Vertigo serialized version of V For Vendetta thirty years ago and have not read the work in collected form until this week. I was surprised how much I had forgotten. I was wowed once again by David Lloyd's non-cartoony artwork; I have never seen anyone imitate his style which remains the pinnacle of gritty atmospheric urban renderings. Alan Moore was not intending to be a prophet with this work, just use then-current Thatcher-era tendencies and take them to extreme conclusions to challenge readers about their own notions of freedom and liberty. The short chapters provide sharp counterpoints to each other and Moore's characterizations are sharp and incisive.
V For Vendetta set the bar for mature thoughtful graphic novels that has rarely been equaled.

Having seen the film some time ago, I thought I was familiar with the story, but the graphic novel goes far beyond what appears on the screen.
V for Vendetta is a noir masterpiece of a dystopia. Both violently and sexually graphic, it is by no means for the thin-skinned or faint of heart, nor is this novel for those not willing or ready to think deeply about its content. Not everything is as it seems in this world Alan Moore created.
V for Vendetta is terrifyingly appropriate for our times and a must-read for those who look at the world with the intent to see it and to change it for the better, regardless of the danger.

Ah, graphic novels: where dialogue and art give birth to new twists on old fables. Where complex ideas can be boiled down to a single panel. Where a symbol becomes a story, lines and colour the in-between-the-lines. I have only recently in the past year and a half started my love affair with comic books and graphic novels, and this was the first time I had ever read one so politically charged as V for Vendetta, written by the same Alan Moore who gave us Batman: The Killing Joke (one of my favourite Batman graphic novels and probably with the deepest exploration of Batman’s dark side of any graphic novel or comic book I have ever read – highly recommended). It was illustrated by David Lloyd, and while I’m not familiar with much of his other work, I know after having attempted to work on a graphic novel with an artist myself, how difficult it must be to translate all of Moore’s ideas into a single visual panel box, especially since Moore and Lloyd wanted this book to be more about the visuals and with less sound effects and unnecessary dialogue than most graphic literature had in the early eighties, so I take my hat off to him for that.
Since this graphic novel was made into a movie as recently as 2005, I was genuinely surprised that its creation was begun in the summer of 1981, and truly impressed how far ahead of its time it was as far as politics and symbolism in graphic literature goes. Many of the comic books in the ‘80s and ‘90s are very blatant, in-your-face and extreme, but usually only in the way of sound effects, big explosions, fight scenes, and often expounding upon very basic plot points and themes. People like Alan Moore and Neil Gaiman (check out his version of the Sandman comics if you want to see tons of symbolism) changed this a lot, and things are much more symbolized and have deeper meaning and are more daring in the comic book/graphic novel world today because of them.
The concept of anarchy was explained artistically and with a romanticism that undermines the cold nihilistic nature of pure destruction. As V tells Eve, ‘Anarchy wears two faces, both creator and destroyer; thus destroyers topple empires, make a canvas of clean rubble where creators can then build a better world.’ Allusions to various films, songs, and books, (especially Confessions du Révolutionnaire by Pierre-Joseph Proudhon – available on the store, I checked!) or other literary works by William Shakespeare or Thomas Pynchon are peppered throughout, and all the reader has to do is follow the rabbit trail to his or her own education/enlightenment. As a reader, I found this fascinating, and must admit that the concept of self-government and working as an independent state unto myself is most appealing.
I love the way V speaks, so poetic and courteous, in a world where all is cold and art is gone and machines watch your every move (doesn’t sound too far off sometimes, to be honest). Here is my favourite example of his eloquence:
'V: THE PIECES CAN’T PERCEIVE AS WE THE MISCHIEF THEIR ARRANGEMENT TEMPTS: THOSE STOLID, LAW-ABIDING QUEUES, PREGNANT WITH CATASTROPHE. INSENSIBLE BEFORE THE WAVE SO SOON RELEASED BY CALLOUS FATE. AFFECTED MOST, THEY UNDERSTAND THE LEAST…'
Personally, however, I cannot subscribe to the fact that the destroyer (V) does things like blow up the Parliament buildings to clean the slate of society, not because I’m all that attached to symbols of power, but because of the little people and my belief in the power of free choice. There are hundreds of people who work in those buildings, many of them most likely night staff. How many innocent people had to die so V could continue his vendetta, without a choice, without knowing why they died, what good it would do anybody, what their families were supposed to do next, how they were supposed to survive without those lost? How many Mrs. Almonds were there out there, not because of the fascists, but because of V? Dying for a cause you believe in is one thing. Dying to further someone else’s cause that you know nothing about is another. Also, since I have been a member of the human race for a while and have had many experiences that have shown me its seedy underbelly, I think that while the concept of anarchy is appealing, the practice of it is impossible, because of its reliance on human conscience and on respecting the boundaries of others, which I have no confidence in any person for maintaining for very long when it means they can’t get what they want.
Over all, I give this work 4 stars out of 5, and highly recommend it.
England Prevails.

For those who are unaware, Alan Moore is widely considered to be one of the greatest (if not the greatest) comic book writers in history. He was part of what has now become widely regarded as the "British Invasion" of comics, where he along with other British writers and artists (including Grant Morrison, Neil Gaiman, Brian Bolland, and Dave Gibbons) saw untapped potential in the stories that could be told in through the graphic medium. As a result, many of the comics produced throughout the late 80's were widely praised for darker and mature story lines that had been previously unseen in comics by the general public. Alan Moore is the writer that most people associate with this movement and for good reason. Many of his works such as FROM HELL, SWAMP THING, THE LEAGUE OF EXTRAORDINARY GENTLEMEN, LOST GIRLS and the crown jewel of his library WATCHMEN, helped expand the possibilities that comic writers could explore with stories and characters. I have read a good number of Moore's comics, and while I don't necessarily regard him as my all-time favorite comic writer (that would go to either Brian Michael Bendis or Jeph Loeb), he definitely qualifies as top 5 worthy in that regard. The primary aspect that I feel drives his writing style is his ability to delve deep into a character's psychology, using it to help set the plot in motion and explore a variety of unique themes. This writing style was successfully utilized in BATMAN: THE KILLING JOKE, through its arguments on what can cause a man to go insane, and to an even greater degree in WATCHMEN, which heavily focused on the flawed personalities of it's characters in order to ground superheroes in a realistic manner. V FOR VENDETTA is a bit different in this regard, as it uses the deep psychology of its characters in order to explore the complex concepts of freedom, oppression, anarchy, and totalitarianism.

The book takes place in an England that has devolved into a fascist dictatorship. In the 1990's a nuclear war had engulfed the entire world, resulting in the deaths of countless civilians and the collapse of the British government. The civil unrest that soon followed led to the rise of the Norsefire party, which reformed the nation into a totalitarian state, where only those who were considered strong and put their faith in the party were fit to live. The story opens with a young woman named Evey Hammond walking down the lonely night lit streets of London. She is struggling to earn money as a munitions worker, and hopes to gain extra by resorting to prostitution. This proves to be a deadly mistake however, as the man she approaches turns out to be one of the fingermen, the party's elite secret police. Before the fingerman and his colleagues can do anything however, a mysterious figure wearing a mask that resembles Guy Fawkes attacks them and rescues Evey. Up on London's rooftops the masked figure, who addresses himself only as "V," reveals to Evey that he is an anarchist rebelling against the dictatorship, which is evidenced by him detonating a bomb he planted in the parliament building. He then takes Evey under his wing, and explains that he intends to rid England of its dictatorship and transform it into, "the land of do-as-you-please." The attack immediately catches the attention of the party's heads, who begin an all-out crusade to capture and discover the identity of V. As V continues to strike against the government, individuals will live, others will die, and some will struggle to decide where their loyalties lie. In the end, will totalitarianism and oppression reign over England, or will anarchy and freedom become the dominating body of power? Either way, all of those present will indeed remember the fifth of November...

Similar to my experience with X-MEN: MAGNETO TESTAMENT, V FOR VENDETTA is a comic that I was required to read twice in order for me to analyze it properly. It doesn't mean that I could not enjoy it the first time around, as I acknowledged that it was a well written and intricately thought out story. It was just one of those books that the reader needs to be in the right mood while reading it, as the ideas and themes it conveys are deep and intricately woven into the overall plot. When I decided to take another chance with the book, I found myself unable to take my eyes off of it. Although I will always regard WATCHMEN as my favorite work of Alan Moore's, V FOR VENDETTA is quite easily one of the most complex and intriguing stories that I have encountered in sequential art. Not only is it incredibly well written, but also it engages the reader with complex debates about the benefits and dangers of both anarchy and totalitarianism. Both sides are given justified arguments with logical reasoning, allowing the reader that they each have their pros and cons.

The main character V, believes that the only form of freedom that can exist in a totalitarian police state is anarchy. Having witnessed the atrocities committed by the Norsefire party, he feels that justice and order has betrayed society, and that governments are the source of all problems. He now follows the principle of anarchy, believing that an individual should be able to determine their own fate without interference from someone else, leading to his terrorist actions against the Norsefire party. The Norsefire on the other hand, believe that total control of the people is the only way to ensure that England stands strong. They feel that strength is found in working for a common ideal, and that individual freedoms are weaknesses that prevent those goals from being obtained. The party also perceives freedom as dangerous, as the riots and instability that occurred after the original government's collapse was a result of the masses having none to govern them. Essentially, they believe that too much individual freedom leads to the inability to properly control. Rather than picking one side to support, Moore devotes an equal amount of time in presenting each side's arguments, and backs them up with well-developed and logical reasons. It shows that neither side is truly right or wrong, but is a result of the perspectives belonging to their respective members. This allow the reader to see that both anarchy and fascism have their benefits, as well as their set-backs. Should the world be run by anarchy in order to ensure that every individual retains all of their rights, or will a lack of authority result in senseless violence and chaos? Is total control a necessary measure to ensure strength and stability, or will losing freedom mean losing all humanity? These questions not only help to drive the plot forward, but provide depth for the characters, as well as the ideals that they believe in.

One aspect in particular that I found unique about V FOR VENDETTA is that rather than antagonizing the dictators, it attempts to humanize them. Some people think of this book as "the 1984 of comics," as it takes place in a totalitarian police state where freedom is virtually a myth. While V FOR VENDETTA definitely does draw influence on George Orwell's writing, Moore's approach on totalitarianism is different. Because 1984 was a novel that advocated the dangers of totalitarianism, Orwell needed paint the villains as power-hungry dictators in order to convey the potential danger of living in a world with zero individual freedoms. In V FOR VENDETTA however, the members of the fascist party come across as more sympathetic than monstrous. Their motives are more complex than a simple lust for power, as they can range from fear of their superiors, to them following an ideal or principle that they believe in. A good example of this is where the leader of the party is revealed to possess a deep love for his country, and will do anything to keep it strong. It shows that the leader is a man that is willing to sacrifice his people's freedom and rights for the benefit of his country. He doesn't take away his people's freedom because he's simply an a**hole, but rather because he believes that individual freedoms are weaknesses that would prevent Britain's survival. Moore himself stated that when writing his dictators, that portraying them as stereotypical "Nazi-like" dictators would be "insulting to the reader's intelligence," as he wanted to show they are still human human beings. He wanted to convey that people corrupted by power are not the Hellish demons, but are ordinary individuals driven to extreme measures, and have different reasons and motivations for doing so. This is indeed a rare interpretation of literary dictators, and Moore's brilliant writing was successful in allowing me to connect with and understand the motives of all his antagonists even if I didn't agree with them.

The final area that I feel that I should comment on is the nature of the titular character V. V is presented as a complete enigma to the reader. Although we know his motivations, his beliefs in anarchy, and that he was once a victim of the Norsefire party's cruelty, we know virtually nothing else about him. His true identity is never revealed, and we never see the face under his mask. This is useful in portraying the idea that V is more of an ideal rather than individual person. It doesn't matter who is under the mask, as he could be any ordinary individual rebelling against oppression. It connects with the book's idea of anarchy being the ability to control one's own fate, and that anyone can have the power to do so. The mask itself helps symbolize anarchy as well, as it bears a striking resemblance to Guy Fawkes, the orchestrator of the Gunpowder Treason. What particularly fascinates me is that Alan Moore stated how he struggled in developing the character's appearance, and when the artist Dave Lloyd jokingly suggested a Guy Fawkes-like figure, Moore immediately approved it. Moore's choice to give V this appearance perfectly conveys the character's devotion to anarchy, as Fawkes was an infamous anarchist that once attempted to bomb parliament, which is exactly what V does in the book's opening (and coincidentally took place on the same day, the fifth of November). Another aspect of V is the ambiguity of the character's morality. While the terrorist actions he commits are meant to bring down the dictatorship, they result in the destruction of historical landmarks, as well as the deaths of hundreds of party members. The character's morality is further put to question when he is revealed to have been a victim of the party's concentration camps, and carries out brutal physical and psychological vengeance against those responsible. Moore purposefully characterizes V in this manner, leaving the question of whether V is a noble freedom fighter or mad terrorist up to reader interpretation. Either way, V is indeed one of the most morally gray protagonists in comic book history, and is indeed an intriguing and well-developed character.

V FOR VENDETTA is a prime example of why Alan Moore has been hailed by many to be one of the greatest, if not the greatest comic book writers in history. The story is unbelievably well-written, it's characters are morally complex and developed, the book's themes of anarchy vs. totalitarianism are highly engaging, and each side is given equal treatment and time devoted to exploring their motivations and philosophies. Rarely, does work such genius see the light of day in comic books, and while I will always hold WATCHMEN as Moore's greatest masterpiece, V FOR VENDETTA indeed stands worthy of being recognized as the powerhouse of comic book storytelling that it is.

"Power is not a means, it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship."
-George Orwell

To read more of my reviews on comics and sequential art, be sure to check out my website University of Panels, http://samhulksmash75.wix.com/universityofpanels#!comic-book-reviews/cgt5

What do you do when your government controls every aspect of your life? When propaganda replaces education? When art and culture and autonomy are slowly but surely stolen away? Well, we know from history and literature that there are quite a few ways to deal with totalitarian oppression. Winston Smith commits thoughtcrimes. Katniss Everdeen starts a rebellion (and put a bird on it). Guy Fawkes tried to blow up Parliament. Most of us, though–admit it–would probably just let it happen. In Alan Moore’s graphic novel V for Vendetta, Evey Hammond is willing to live out her whole life under the thumb of England’s new, fascist government, until she comes to a rude awakening through an encounter with a masked vigilante. The criminal/terrorist/vigilante/hero/Codename V rescues Evey from dirty cops who are about to rape and murder her, and from then on takes her under his wing (read: “awesome cape”). In the Shadow Gallery, V’s home, Evey’s eyes are opened to the horrors of the world she lives in, and she learns of the beauty of a reality filled with books, paintings, love, and anarchy. She also learns how to dismantle a tyrannical government V’s way. It isn’t with flowers and protests, but with blood and fire.

Read it if … you have a thing for masked men or anarchy or weird graphic novel fonts. The book is not as action-packed as the film adaptation would have you think, so come to this novel looking for political exposition and solid character development.

Don’t read it if … you wanted to read a superhero comic, or if anarchists killed your family. This book is preachy in some parts, and some of us can’t turn off the constant internal (or verbal) criticism of preachy books.

This book is similar to … other books written by Alan Moore. He’s a singular guy, and there certainly aren’t an abundance of talented graphic novelists who use their chosen medium as a political standard.

Read the rest of my review here: [...]

I LOVE this book, have read it a number of times, and after that I couldn't even look at the movie anymore--even though I thought the movie was great when I first saw it, having not read this book. But...I already have this! What I want to see is the black and white panels, not this hideous eighties coloring, and I don't care if it's "improved". I have seen the odd individual panel in plain black and white and it was some of the best, most solid drawing and inking ever, esp in how it managed to use negative space to define shapes rather than lines, and the coloring--no matter how improved it might be--obscures all of it. I put them side by side and there was no comparison, the color added nothing of value to me and only detracted from the beauty of the B&W image. If they could please put out even a cheapo B&W version of this, instead of just constantly reprinting the ugly colored version, I'd be so delighted! I don't need fancy editions, I just would like to appreciate the masterful skill of the original artist without the ugly distractions.

Regardless, I would still recommend this book to anyone, because it's amazing and multifaceted and you can't get everything out of it in one read, and it puts the movie to shame with its complexity--despite the ugly coloring.

In an alternate 1998 in England, it seems the government has turned fascist against the people of the country and making it a police state. It is ruled by the totalitarians and taking away some people's freedom in everything from some skin color, some races, some religions and even on sexual orientations as it's causing problems for the country even after a nuclear war in some parts of the world. A masked mysterious avenger named V becomes an anti-fascist anti-government avenger who fights for the country's freedom, he meets a lovely girl named Evey as he befriends her and falls in love with her thus the two together decide to bring freedom back to the UK.

One of the most groundbreaking and powerful comic book stories ever told! in 1982 till 1985, writer Alan Moore (Watchmen and Saga of the Swamp Thing) with artist Danny Lloyd have made a comic story that was printed in the UK;s comic magazine known as "Warrior Magazine" from 1982 till 1985 originally in black and white. However in 1985 when the company that closed down with Warrior along with it, Moore's story was not yet complete as 2 more were to be told. So he came to the US and did work on Watchmen and Killing Joke at the same time for DC, he decided to write his last 2 stories for DC for their new second company called Vertigo which makes comics aimed at mature readers as he still wrote stories for them like Swamp Thing. In 1988 DC/Vertigo reprinted the stories as a 10 issue mini-series in color for each one and has went on to become one of the most critically acclaimed comics in history then later in 1989 became a trade paperback graphic novel which has became one of DC and Vertigo's best selling graphic novels of all time. It's a very intelligent, dark and daring sci-fi story in the Orwell and Brazil (the movie from Terry Gilliam) kind of way as it shows the idea of how we can fight against facism and an anti-political statement as it's thought provoking and unique adult storytelling which Alan Moore is known for. The writing is just excellent as is the artwork from Lloyd.

I first read this graphic novel when i was in high school looking for cool graphic novels in Albuquerque which i would go every month to there and looked up online for what cool graphic novels to read and had to check out this, i loved it and made me think, depressed me and opened my mind. This also includes "Behind the painted smile" featuring a look behind the scenes of this remarkable work of art including sketches, sample comics from Moore/Lloyd and two short stories that were first presented in Wrrior magazine that were originally conceived as interludes to the storyline of the comics.

It's always hard to review something as highly regarded as "V for Vendetta", or anything by Alan Moore really. His works are almost universally applauded, and their reputations are almost bigger than the stories they tell. And rightfully so; these aren't comics, these are full blown novels that just so happen to be accompanied by intricate artwork.

I've been working my way through his works over the last few years, starting with "Watchmen", then "The League of Extraordinary Gentlemen", then "The Killing Joke" and now I've finally made it to "V for Vendetta" (and I've started "Saga of the Swamp Thing").

I actually saw the movie a few years ago and really enjoyed it, but I still wanted to read the graphic novel. Now that I've read the novel I want to go back and watch the movie again so I can compare them in my head. A few key differences stand out (from what I remember) but overall I would say the tone of the two felt the same, which I think is a credit to the screenwriter and the director.

So on to my review of the graphic novel. It's a dark story, in a dark future, told with dark and muted artwork. Most of the time the art works fairly well, but sometimes I had trouble discerning what was happening in certain panels (although, from reading other reviews, it sounds like this may just be an issue with the paperback). The artwork isn't black and white, it's very muted watercolor I think, but it may as well be black and white. And aside from V himself, a lot of the characters are very hard to identify from one panel to the next. Even the other main character, Evey, can be hard to identify as her look changes drastically throughout the book. Although, in regard to distinguishing characters one from the other, maybe this is done on purpose as the fascist government seems to look down on individualism. But I don't think that's really it, I think it just lacked needed detail, so the artwork (at least in the paperback edition) gets a 3 out of 5 from me.

I really enjoyed the story, although I do feel the pacing was a little uneven. Sometimes it was a real page turner and I was just fascinated by the writing, and then the pacing or the focus would change and I would lose interest and go to bed for the night to pick it up again later when it wasn't in such danger of putting me to sleep. But, overall, the story was great and I was interested to know what would happen next and how events would unfold, even though I'd seen the movie and had a pretty good idea already. I do think the cast of secondary characters may be a little too broad. It gets really hard to keep track of who is who between the government entities of the finger, the nose, the eye, etc. The previously mentioned lack of detail in the artwork doesn't help. I can't blame the folks behind the movie for whittling the cast of characters down a little.

I think some of the things I find most interesting about the story is some of what isn't expressly written on the page. Part of V's motivation is an actual vendetta, which starts the ball rolling, but part of it is something else, and he apparently chose Evey to accomplish that something else because, in a sense, V is a madman, but he'a a madman who's smart enough to know his role and to know his place. The ending between him and Finch is interesting as well, although it's left out of the movie, and Finch only makes a passing comment about it at the end of the book. But to me at least it imparts a bit of a sense of morality and justice to V, who for the most part is an amoral character who's just as violent as the government he opposes. Sometimes I enjoy subtlety in a story, not having every detail spelled out, and here these particular aspects of the story work well.

I give the story 5 out of 5. Average the two together and you get my rating of 4 stars. If you haven't read the novel and you haven't seen the movie, I highly recommend both.

One of the latest gritty, dark graphic novels to be adapted to film was "V for Vendetta," based on Alan Moore's futuristic comic of the same name. But as usual, the source is the most compelling.

First published in the early 1980s, Moore painted a frightening future where there is only one man who can challenge the fascist system. Is he an anarchic madman, or a freedom-loving visionary? Readers will have to decide for themselves, but the story is a fascinating action story that raises quite a few questions.

The year is 1998 (okay, pretend it's an alternate reality), and Britain is ruled by a fascist regime, and dominated by a shadowy figure. Order is the law. Blacks, gays, Muslims and Jews are relegated to concentration camps, where they are tortured with medical experiments and evil priests. The one exception is a horribly scarred man, who blew his way out with a homemade bomb. He donned a Guy Fawkes mask, and calls himself V, for he "has no name."

One night he rescues a young prostitute, Evey, from a bunch of thuggish policemen, whisks her down into his hidden base, and involves her in a trap-and-murder plot. Evey is both repulsed and fascinated by V's plots, especially when she is interrogated. And when an order-obsessed policeman closes in on V, both he and Evey must accept their fates.

"V For Vendetta" is a thinking-reader's comic. Fascism and anarchy -- both concepts that Moore clearly understands -- are timeless concepts that pop up periodically throughout human history. So even though 1998 came and went long ago, "V For Vendetta" is an intelligent, deeply compelling story that still resonates in its readers.

Moore's London is a rather dank, dismal place, apparently reflecting the government. He knows how to chill his readers with a diversity-free England that seems a lot like Nazi Germany. Even nonessential scenes like Evey's interrogation are absolutely harrowing. But he can also tug at the heartstrings, such as when Evey reads Valerie's letters.

And Dave Lloyd's artwork is rather flat and a bit faded-looking, though this is not very distracting. But despite the ordinary art, the novel is brought to life by the solid characters and surreal illustrations, with V as the most surreal of all -- just look at that creepy smiling mask.

At first glance, V is a vigilante hero in the tradition of Zorro -- the government is oppressive, and he's trying to take it down. But V is not a plaster hero, and his actions can be very morally ambiguous. Is he a hero or a madman? Did those experiments make him psychotic, or did they just give him courage? Moore leaves it up to our imaginations what he is. By the end, V has become less a person than an ideal.

"V For Vendetta" is a memorable, somewhat frightening graphic novel, which will leave you thinking about what you might do in such a world. A deserving classic.

Beautiful art, great story line. This is a classic dystopian tale. Some aspects don't stand up to time very well, given that the story takes place in the late 1990s, in a post-nuclear world where Nazis have taken over Britain. However, if you hang up your disbelief hat, and pretend it's an alternate universe, you can relax and go along for the ride.

Did I say relax? The story is tense, the world is dark, and the characters are terribly flawed. The content is pretty hardcore, as one would expect when Nazis rule. This story contains no gallant heroes in white armor, and as a close look at history tells us, such heroes may never exist.

This book has inspired movements in the present day. The Guy Fawkes mask has come to represent several modern anarchist-leaning, anti-corporate, anti-government movements, especially the hacktivist group, Anonymous, and as an influential branch of that, the less geeky Occupy movement. While our present day is certainly not as suffocating as the England in V for Vendetta, there is still a lot of political oppression, and real people suffering and oppressed in real ways. There are those who believe things in the here and now really are that bad. At the very least, they wish to prevent it from getting worse.

The message of violence in this book is a little unsettling. A few years ago, I would have shaken my fist in the air and, with V, called for revolution. But now? I believe revolution should be a slow and democratic process. Even if it is painful. Because violence is much more painful, and often ends in worse tyranny. In that sense, I hope people take this book as metaphor. Let the outrage show in persuasive words, not bombs, or even in angry words. In the end, well-formed arguments have liberated more nations from oppression.

From their wikipedia entries:

"While imprisoned, Beekman drew and embroidered. She would take a needle and prick her finger to use the blood as ink and draw on toilet paper as there was no paper and pencils."

"As the prison director testified after the war, Noor remained uncooperative and continued to refuse to give any information on her work or her fellow operatives, although in her despair at the appalling nature of her confinement, other prisoners could hear her crying at night. However, by the ingenious method of scratching messages on the base of her mess cup, she was able to inform another inmate of her identity, giving the name of Nora Baker and the London address of her mother's house."

And I am reminded of Louise's line in Thelma & Louise [HD]: "when a woman is crying like that she aint having any fun"

and Bruce Greenwood's line in Exotica: "How could anybody hurt you?"

Impressive! V for Vendetta is a phenomenal work of fiction. This is one of Alan Moore's best (surpassed only by Watchmen, in my opinion). It tells of a near-future England that has limped through war and disasters--now allowing fascism to offer safety. It is a frighteningly believable world: civilians do as they are told and those in power control and abuse. We follow main characters Evey, an initially timid and desperate young woman, and V, a mysterious masked vigilante who desires to free the country from oppression. It is a very character- and idea-driven plot, yet also contains some action and surprises. This is a very thoughtful and intriguing look at prejudice and personal freedoms. It encourages all to think freely and be open-minded.

This is a graphic novel, and the art by David Llyod is superb. The pen and ink work is high contrast and the coloring is beautiful. The style is subdued and fairly realistic, which fits this story well. My single complaint is that it was occasionally difficult to tell some of the minor characters apart, but it certainly wasn't a big problem.

This is a read for mature audiences. It explores such heavy topics as terrorism, homosexuality, anarchy, abuse and torture. Most of this is discussed rather than depicted, but there is a minor amount of blood and nudity. I was rarely offended by the artwork, but there were a handful of images I found gratuitous. I doubt younger readers would enjoy this work, but most adults will find the content fairly inoffensive. I would only avoid this book if you are very sensitive about mature content: violence and current issues as they may appear in the news, or nudity as it may appear in classical artwork. It is an adult read, but not one that I believe adults should avoid.

I urge you adult readers to try this one! If you have any interest in politics or current events, Moore presents some issues that are important to think about. Despite the heavy themes, it is also an enjoyable read. I found myself wondering what would happen next, and engaging with the characters regardless of their shortcomings. If V for Vendetta sounds remotely interesting to you: you owe it to yourself check it out!

Another foot of snow & its too hard to get around by car, especially when your car is stuck in an unplowed lot. What a perfect day, then, to finish Alan Moore's "V for Vendetta," a graphic novel about a mask-wearing terrorist blowing up London landmarks in the hopes of inspiring a revolution against England's reigning totalitarian government. Its basically a twist and shake of Orwell's "1984," except with an avenging superhero.

"V" isn't nearly so sophisticated intellectually as Moore's "Watchmen and that was disappointing. The earlier chapters, in particular, written, according to Moore, when he was younger and not yet wiser, are pretty simplistic fare. The story--and the characters--gets more complex as it advances from the halfway point on. Moore plants some nice suprises in the plot which would have been more of a surprise if I hadn't gotten the whole story from a friend who'd seen the movie.

So, despite a somewhat straightforward "black-and-white" plot, Moore does inject some subtle shades of gray into his story to keep us off-balance, attempting to challenge our received ideas about right and wrong, freedom and oppression, law and anarchy. Even more pointedly, "V" raises the discomforting question "when is it one's duty to take up arms against the 'lawful' tyranny of one's own government?" What happens when we discover that the Law not only has the potential to become the tyranny with the biggest muscles, but it also has the loudest propaganda?

These are questions that no government is happy to know its citizens are asking.

Luckily for the powers-that-be, few people will come away from "V" seriously questioning their own freedom or the line they would rather die than cross if it meant surrendering what freedoms they might still retain. What the best tyrannies manage to do is to instill in the minds of their citizen-slaves the myth that they are free. In creating a fascist future for England, Moore has exaggerated the fictional evil more than enough to camouflaged it in real life. In fact, by putting such an exaggeratedly "evil" mask on the totalitarian state in "V for Vendetta," Moore has done the oppressors an (involuntary?) invaluable service: he has made it that much harder to recognize the far subtler, far more benevolent mask that totalitarianism wears in our own culture.

Isnt that a cool conspiracy notion? That even at the level of comic books, the government employs propagandists; that the State uses writers--the best propagandists of all!--to create a reality we've never actually seen but implicity believe exists. These writers create stories, poems, films--and graphic novels--to put a mask on evil so we'll never recognize it ruling over our own lives. We'll always be looking for someone else, for evil to look like something else, for it to look, for example, as it does in this book.

I'm on to you Alan Moore! In "unmasking" V, you've blindfolded us!

Oh, btw, I almost forgot to mention it: the art. The art in this book struck me, overall, as surprisingly muddy. Whats more, so many of the characters looked enough alike it was difficult to distinguish between them. And yet...and you wouldnt think it possible given the preceding...it was often just as difficult to see the similarities in characters from chapter to chapter. There just wasnt enough consistency, it seemed to me, especially when the characters showed emotion or physical distress. This is especially true of Evie who's supposed to be sixteen, at times looks to be in her late 50s, and ends up looking like Shirley from Laverne & Shirley...no, no, that woman who played Suzanne Somers and John Ritter's roomates on 3's Company...she looks like that woman by the end of V, which is bad enough, but worse is that she looked nothing like that at the beginning of the story.

Anyway, this artist, David Lloyd is supposed to be some huge comic book drawing talent, judging from the way Alan Moore goes on about him in the afterword, but outside of a few panels and a handful of techniques here and there, I wasn't all that bowled over by it.

That's not why I'm thinking that I'll read a book without pictures next. Its just time.

There goes a plow. Help! I'm going to go outside and shoot an entire aerosol can of hairspray into the sky. We need some more global warming. We need it fast!

In the great Alan Moore's book "V For Vendetta," V is an intriguing anti-hero, strangely clad in a black robe and a Guy Fawkes mask, rebelling against the fascism of post-nuclear war England. The mood is Blade Runner meets Orwell's 1984. "V" is typical Alan Moore brilliance: deep characterization, dialogue that draws upon classic literature, and political/philosophical blood coursing through its veins. The interplay between V and his female "protégé" Evey is particularly satisfying; it both moves the story along and adds definition to the characters.

If you are like me and slept through most of the forgettable movie, go out and read this book! "V for Vendetta" shows clearly Moore's maturation as a writer, as he went on to masterpieces like Watchmen and Swamp Thing.

The artwork in this volume is not captivating and at times is hard to follow. Alan Moore credits the artist David Lloyd with being a co-creator of the storyline. I'm spoiled by the level of artistry in graphic novels today. The inking and colors in "V" are primitive in quality compared to today's stratospheric standards. Perhaps some of the sparse panels were done for artistic effect - so I could be misinterpreting what the artist was trying to accomplish.

This novel rises to the level of quality fiction such as 1984 or Animal Farm, dispensing with the tired superhero genre. On a broader level, this book made me contemplate why and how superheroes had hijacked the graphic medium in the United States for so long. Only recently are we getting top-quality "comic books" that don't deal with superheroes - such as "Fables" "Last Man" and "Ex Machina." "V for Vendetta" blazed a trail for those modern masterpieces, even though it took decades for them to follow.

What else can I say about this amazingly written novel? I loved it! The story was expertly crafted and there were tons of characters to follow (V of course is my favourite). I enjoyed the world-building and the way V crashed into everyone's lives. There were many heartfelt moments, and one that completely took my breath away––when V had a conversation with Justice. Absolutely loved it, a must have for all graphic novel enthusiasts!

The beginning suggests a unique and possibly unconventional narrative: "Good evening, London. It's nine o'clock and this is the Voice of Fate broadcasting on 275 and 285 in the medium wave...it is the fifth of the eleventh, nineteen-ninety-seven." A panel depicting a state-controlled factory, with perhaps one of many security cameras perched high on a lamp pole, immediately follows it. "For your protection," it says underneath the camera in stark black mocking letters.

Like in Watchmen, Alan Moore doesn't waste time getting into the universe surrounding the story. And every panel has its purpose here, whether it be seemingly pertinent or not, flavor material or pure narrative motion. He doesn't pass up on a chance to speak about the characters or this `past-future' world with every single crucial detail of art here. When V, as he is called and nothing else, goes about an initially unknown activity that leads to a shock bombing of the Parliament houses punctuated by a great tumult of striking pyrotechnics, we are there with him and in that way Alan brings us into his created world like no other comic writer does.

Evey knows she doesn't have a choice in this world but to provide some services of the lewd kind; approaching a man whom she doesn't take for much of a Fingerman (the equivalent of a policeman in this fascist ruled society) and gets into very hot soup because of it. After near-death, she has to bear the brunt of being taken in by V, whom we find out very soon to be a rather delicate, if very bizarre caretaker of sorts. The fabric surfaces more, with The Leader running things, coordinating an initiative to take down V for decreed revenge. The underlying system of this graphic novel seems contradictory to the claim that Watchmen was far more elaborate than what lies on the English-comic-strip-styled pages of V for Vendetta. Alan certainly doesn't lose a beat here, cementing the work with poetic prose.

Although terribly organic, an absorbing foray into the bleak nature of some of the more deviant characters, which although juxtaposed against an overt totalitarian form of government, grinds into the nominal truths of human nature. Reverend Anthony Lilliman would be a perfect example of morally pure externals overlapping wicked and sinful internals. After delivering an all-inspiring acclamation, he sees fit to indulge in a little sinful fornication. Alan doesn't tone down on the small, minute allegories.

The most amazing thing, perhaps, is the polished readability of this immensely British story (most prominent in the way women behave in this story for example) in today's modern times. It bears no disappointment as to the degree of quality it precedes as well (Alan was doing Swamp Thing while he was working on V), and it may even be passed off as a work of elaborate literature, albeit in the graphic form, a work surpassed by few graphic novels of its kind.

For those of you who have viewed the film and are thinking of reading the novel now, I was in your shoes. The first two books in this novel/series read very similar to the film. The third book is a conclusion that the film did not delve into. This book is tremendously intelligent and artistic, but its not the same walk in the park that the movie adaptation was. You will have to pay much attention to each character's story, as they all play significant roles in the end.

I agree with the overall praise for this novel, but I have to be honest and say that The Killing Joke and Watchmen impressed me far more than V. The reason would be that I totally lost track of each character in the third act. In the movie the characters were so defined and easily readable. In the book a lot of the characters look the same and initially appear very trivial. But their importance was unknown until much later in the book. My confusion, which could be remedied in a re-read, prevented me for enjoying this book as I did Moore's other work.

Aside from my troubles reading the third act, I did not leave V for Vendetta without reward. The intelligent plot-weaving and dialogue concocting was very top-notch and very Alan Moore. Moore always seems to be a disciplined writer, because it shows through his meticulous work. V for Vendetta is definately a comic with educational reward. It's very smart and it should make you smarter.

I'm sure that I'd be criticized for saying I enjoyed the film more. I'll say instead that the film and the book are two entirely different journeys. Yes, I took the non-comic-book-fan approach and watched the film first. I may have different opinions based on where I came from before I entered this particular piece, but I do believe I can be help to those who were in my shoes. If you saw the movie first, be prepared for a different ride. You may, as the majority does, enjoy the book much more than the film. You may also be like me; enjoy the movie experience more than the book. However, I am sure you will enjoy both to some degree and you will definately get your money's worth by collecting both. Alan Moore is yet to get a refund out of me, in fact far from it.

While Alan Moore remains best known for his work on the influential comic series/graphic novel Watchmen, the 1980s were an incredibly productive time for the subversive writer. Among a slew of successes came what is arguably Moore's second biggest work, V for Vendetta.

The three-part story follows the actions of a person known only as "V," who dons a Guy Fawkes mask as he preaches anarchism and carries out a one-man war with a totalitarian government in what was then considered the "near future," the 1990s. But like most stories that deal with the "not-too-distant future," V for Vendetta has much in common with current situations in the world, and as much has arguably stayed the same, the story remains relevant today.

V first appears as a Batman-like character, emerging masked from the shadows, striking fear in the enemy as he rescues a young girl, Evey Hammond, from corrupt cops who plan to rape and kill her. That's about as far as comparisons to the Bat go. V speaks as though raised on Shakespeare and proudly proclaims responsibility as the Houses of Parliament explode and fireworks light the sky. He apparently has no qualms about killing and destroying.

As the story unfolds, we learn more about V's background, as Evey learns more about the ideals of the masked man. V isn't through after the Houses of Parliament. There is a bigger plan, and the powers are scrambling to do everything they can to keep the propaganda rolling and bandage the damage V is doing to their ideals.

At its core, V for Vendetta advocates terrorism, or at least presents someone referred to as a terrorist as a protagonist of the story. He kills, bombs, and brainwashes in the name of his ideals. But that is what Moore challenges throughout. Is terrorism in the face of oppression "terrorism," in the negative sense, or is it patriotism if carried out in the name of a wakeup call to bring things back to the people?

There is an important battle brewing throughout the story involving "Fate" and "Justice." V for Vendetta is a book about ideals. This terrorist is someone who, literally in this sense, has been imprisoned, experimented upon, and tortured by his government. He wants freedom, not only for himself--he already has a slice of that in his subway dwelling--but for everyone. And he's fighting for it, breaking down the walls to give others the opportunity to do the same. He is like the protagonist of 1984, but he's willing to blow things up to change the world rather than run until he eventually gets a metaphorical bullet to the head.

The art of David Lloyd is unique, to say the least. The images strike a realistic tone but are often shaded in white, blue, and sometimes yellow tones that seem to deprive the panels of some detail. It is a style that may not work for many readers.

But at the core of things, V for Vendetta is about the ideas it presents. In a three-book arc, Moore creates a cinematic story that entertains and, more importantly, will leave readers questioning their ideals for years after the last chapter is read. It is another fantastic entry into the world of subversive comics by the industry's best.

-- William Jones

Jazzed by the movie, I bought the book and then let it sit around for a couple of years while other matters took precedence. Maybe I should have struck while the iron was hot because when I took up V FOR VENDETTA recently it seemed listless and drawn out to an excruciating degree. That said, I must admit that if I hadn't have seen the film I might have been more taken by Alan Moore's concept and David Lloyd's execution. It's great to have a comic dealing so openly and forcefully with anarchy-related materials, but if you ask me, the movie upped the ante in every respect; the movie made the Shadow Gallery the palace of art, music and culture it was meant to be, the privations of the outside world more real, more chilling.

I know people say that the movie is inferior in that V and Evey are more heroic and lack the complex moral shadings the book gives them. But what some see as "complex moral shadings" others might view as maddeningly etiolated monologues with no visible point. The chief plot twist is kept in the movie, where it's just as unbelievable--that V would torment Evey strikes me as absurd--but luckily some of the cheaply conceived, lackluster "Advise and Consent"-style subplots of the book were dropped entirely. The inner torment of Rose Almond for example. Moore does his best to make her struggle interesting but, well, it's not. Ditto with the sexual power games of Helen Heyer. Could anything be duller than this allegedly Marat-Sade affair? Later on, Moore got good at writing about women but here he's all ideas, ideas ill-suitedly sharing a bed with a wanky titillation.

And please, like everyone else I must register a protest against the horrible printing of the book. You can barely make out what's happening in fully a quarter of the pages. They should give you at least 25 per cent off the cover price, for 25 per cent is illegible, murky, muddy. They should be ashamed to offer this as a product.

Having seen the film some time ago, I thought I was familiar with the story, but the graphic novel goes far beyond what appears on the screen.
V for Vendetta is a noir masterpiece of a dystopia. Both violently and sexually graphic, it is by no means for the thin-skinned or faint of heart, nor is this novel for those not willing or ready to think deeply about its content. Not everything is as it seems in this world Alan Moore created.
V for Vendetta is terrifyingly appropriate for our times and a must-read for those who look at the world with the intent to see it and to change it for the better, regardless of the danger.

Ah, graphic novels: where dialogue and art give birth to new twists on old fables. Where complex ideas can be boiled down to a single panel. Where a symbol becomes a story, lines and colour the in-between-the-lines. I have only recently in the past year and a half started my love affair with comic books and graphic novels, and this was the first time I had ever read one so politically charged as V for Vendetta, written by the same Alan Moore who gave us Batman: The Killing Joke (one of my favourite Batman graphic novels and probably with the deepest exploration of Batman’s dark side of any graphic novel or comic book I have ever read – highly recommended). It was illustrated by David Lloyd, and while I’m not familiar with much of his other work, I know after having attempted to work on a graphic novel with an artist myself, how difficult it must be to translate all of Moore’s ideas into a single visual panel box, especially since Moore and Lloyd wanted this book to be more about the visuals and with less sound effects and unnecessary dialogue than most graphic literature had in the early eighties, so I take my hat off to him for that.
Since this graphic novel was made into a movie as recently as 2005, I was genuinely surprised that its creation was begun in the summer of 1981, and truly impressed how far ahead of its time it was as far as politics and symbolism in graphic literature goes. Many of the comic books in the ‘80s and ‘90s are very blatant, in-your-face and extreme, but usually only in the way of sound effects, big explosions, fight scenes, and often expounding upon very basic plot points and themes. People like Alan Moore and Neil Gaiman (check out his version of the Sandman comics if you want to see tons of symbolism) changed this a lot, and things are much more symbolized and have deeper meaning and are more daring in the comic book/graphic novel world today because of them.
The concept of anarchy was explained artistically and with a romanticism that undermines the cold nihilistic nature of pure destruction. As V tells Eve, ‘Anarchy wears two faces, both creator and destroyer; thus destroyers topple empires, make a canvas of clean rubble where creators can then build a better world.’ Allusions to various films, songs, and books, (especially Confessions du Révolutionnaire by Pierre-Joseph Proudhon – available on the store, I checked!) or other literary works by William Shakespeare or Thomas Pynchon are peppered throughout, and all the reader has to do is follow the rabbit trail to his or her own education/enlightenment. As a reader, I found this fascinating, and must admit that the concept of self-government and working as an independent state unto myself is most appealing.
I love the way V speaks, so poetic and courteous, in a world where all is cold and art is gone and machines watch your every move (doesn’t sound too far off sometimes, to be honest). Here is my favourite example of his eloquence:
'V: THE PIECES CAN’T PERCEIVE AS WE THE MISCHIEF THEIR ARRANGEMENT TEMPTS: THOSE STOLID, LAW-ABIDING QUEUES, PREGNANT WITH CATASTROPHE. INSENSIBLE BEFORE THE WAVE SO SOON RELEASED BY CALLOUS FATE. AFFECTED MOST, THEY UNDERSTAND THE LEAST…'
Personally, however, I cannot subscribe to the fact that the destroyer (V) does things like blow up the Parliament buildings to clean the slate of society, not because I’m all that attached to symbols of power, but because of the little people and my belief in the power of free choice. There are hundreds of people who work in those buildings, many of them most likely night staff. How many innocent people had to die so V could continue his vendetta, without a choice, without knowing why they died, what good it would do anybody, what their families were supposed to do next, how they were supposed to survive without those lost? How many Mrs. Almonds were there out there, not because of the fascists, but because of V? Dying for a cause you believe in is one thing. Dying to further someone else’s cause that you know nothing about is another. Also, since I have been a member of the human race for a while and have had many experiences that have shown me its seedy underbelly, I think that while the concept of anarchy is appealing, the practice of it is impossible, because of its reliance on human conscience and on respecting the boundaries of others, which I have no confidence in any person for maintaining for very long when it means they can’t get what they want.
Over all, I give this work 4 stars out of 5, and highly recommend it.
England Prevails.

For those who are unaware, Alan Moore is widely considered to be one of the greatest (if not the greatest) comic book writers in history. He was part of what has now become widely regarded as the "British Invasion" of comics, where he along with other British writers and artists (including Grant Morrison, Neil Gaiman, Brian Bolland, and Dave Gibbons) saw untapped potential in the stories that could be told in through the graphic medium. As a result, many of the comics produced throughout the late 80's were widely praised for darker and mature story lines that had been previously unseen in comics by the general public. Alan Moore is the writer that most people associate with this movement and for good reason. Many of his works such as FROM HELL, SWAMP THING, THE LEAGUE OF EXTRAORDINARY GENTLEMEN, LOST GIRLS and the crown jewel of his library WATCHMEN, helped expand the possibilities that comic writers could explore with stories and characters. I have read a good number of Moore's comics, and while I don't necessarily regard him as my all-time favorite comic writer (that would go to either Brian Michael Bendis or Jeph Loeb), he definitely qualifies as top 5 worthy in that regard. The primary aspect that I feel drives his writing style is his ability to delve deep into a character's psychology, using it to help set the plot in motion and explore a variety of unique themes. This writing style was successfully utilized in BATMAN: THE KILLING JOKE, through its arguments on what can cause a man to go insane, and to an even greater degree in WATCHMEN, which heavily focused on the flawed personalities of it's characters in order to ground superheroes in a realistic manner. V FOR VENDETTA is a bit different in this regard, as it uses the deep psychology of its characters in order to explore the complex concepts of freedom, oppression, anarchy, and totalitarianism.

The book takes place in an England that has devolved into a fascist dictatorship. In the 1990's a nuclear war had engulfed the entire world, resulting in the deaths of countless civilians and the collapse of the British government. The civil unrest that soon followed led to the rise of the Norsefire party, which reformed the nation into a totalitarian state, where only those who were considered strong and put their faith in the party were fit to live. The story opens with a young woman named Evey Hammond walking down the lonely night lit streets of London. She is struggling to earn money as a munitions worker, and hopes to gain extra by resorting to prostitution. This proves to be a deadly mistake however, as the man she approaches turns out to be one of the fingermen, the party's elite secret police. Before the fingerman and his colleagues can do anything however, a mysterious figure wearing a mask that resembles Guy Fawkes attacks them and rescues Evey. Up on London's rooftops the masked figure, who addresses himself only as "V," reveals to Evey that he is an anarchist rebelling against the dictatorship, which is evidenced by him detonating a bomb he planted in the parliament building. He then takes Evey under his wing, and explains that he intends to rid England of its dictatorship and transform it into, "the land of do-as-you-please." The attack immediately catches the attention of the party's heads, who begin an all-out crusade to capture and discover the identity of V. As V continues to strike against the government, individuals will live, others will die, and some will struggle to decide where their loyalties lie. In the end, will totalitarianism and oppression reign over England, or will anarchy and freedom become the dominating body of power? Either way, all of those present will indeed remember the fifth of November...

Similar to my experience with X-MEN: MAGNETO TESTAMENT, V FOR VENDETTA is a comic that I was required to read twice in order for me to analyze it properly. It doesn't mean that I could not enjoy it the first time around, as I acknowledged that it was a well written and intricately thought out story. It was just one of those books that the reader needs to be in the right mood while reading it, as the ideas and themes it conveys are deep and intricately woven into the overall plot. When I decided to take another chance with the book, I found myself unable to take my eyes off of it. Although I will always regard WATCHMEN as my favorite work of Alan Moore's, V FOR VENDETTA is quite easily one of the most complex and intriguing stories that I have encountered in sequential art. Not only is it incredibly well written, but also it engages the reader with complex debates about the benefits and dangers of both anarchy and totalitarianism. Both sides are given justified arguments with logical reasoning, allowing the reader that they each have their pros and cons.

The main character V, believes that the only form of freedom that can exist in a totalitarian police state is anarchy. Having witnessed the atrocities committed by the Norsefire party, he feels that justice and order has betrayed society, and that governments are the source of all problems. He now follows the principle of anarchy, believing that an individual should be able to determine their own fate without interference from someone else, leading to his terrorist actions against the Norsefire party. The Norsefire on the other hand, believe that total control of the people is the only way to ensure that England stands strong. They feel that strength is found in working for a common ideal, and that individual freedoms are weaknesses that prevent those goals from being obtained. The party also perceives freedom as dangerous, as the riots and instability that occurred after the original government's collapse was a result of the masses having none to govern them. Essentially, they believe that too much individual freedom leads to the inability to properly control. Rather than picking one side to support, Moore devotes an equal amount of time in presenting each side's arguments, and backs them up with well-developed and logical reasons. It shows that neither side is truly right or wrong, but is a result of the perspectives belonging to their respective members. This allow the reader to see that both anarchy and fascism have their benefits, as well as their set-backs. Should the world be run by anarchy in order to ensure that every individual retains all of their rights, or will a lack of authority result in senseless violence and chaos? Is total control a necessary measure to ensure strength and stability, or will losing freedom mean losing all humanity? These questions not only help to drive the plot forward, but provide depth for the characters, as well as the ideals that they believe in.

One aspect in particular that I found unique about V FOR VENDETTA is that rather than antagonizing the dictators, it attempts to humanize them. Some people think of this book as "the 1984 of comics," as it takes place in a totalitarian police state where freedom is virtually a myth. While V FOR VENDETTA definitely does draw influence on George Orwell's writing, Moore's approach on totalitarianism is different. Because 1984 was a novel that advocated the dangers of totalitarianism, Orwell needed paint the villains as power-hungry dictators in order to convey the potential danger of living in a world with zero individual freedoms. In V FOR VENDETTA however, the members of the fascist party come across as more sympathetic than monstrous. Their motives are more complex than a simple lust for power, as they can range from fear of their superiors, to them following an ideal or principle that they believe in. A good example of this is where the leader of the party is revealed to possess a deep love for his country, and will do anything to keep it strong. It shows that the leader is a man that is willing to sacrifice his people's freedom and rights for the benefit of his country. He doesn't take away his people's freedom because he's simply an a**hole, but rather because he believes that individual freedoms are weaknesses that would prevent Britain's survival. Moore himself stated that when writing his dictators, that portraying them as stereotypical "Nazi-like" dictators would be "insulting to the reader's intelligence," as he wanted to show they are still human human beings. He wanted to convey that people corrupted by power are not the Hellish demons, but are ordinary individuals driven to extreme measures, and have different reasons and motivations for doing so. This is indeed a rare interpretation of literary dictators, and Moore's brilliant writing was successful in allowing me to connect with and understand the motives of all his antagonists even if I didn't agree with them.

The final area that I feel that I should comment on is the nature of the titular character V. V is presented as a complete enigma to the reader. Although we know his motivations, his beliefs in anarchy, and that he was once a victim of the Norsefire party's cruelty, we know virtually nothing else about him. His true identity is never revealed, and we never see the face under his mask. This is useful in portraying the idea that V is more of an ideal rather than individual person. It doesn't matter who is under the mask, as he could be any ordinary individual rebelling against oppression. It connects with the book's idea of anarchy being the ability to control one's own fate, and that anyone can have the power to do so. The mask itself helps symbolize anarchy as well, as it bears a striking resemblance to Guy Fawkes, the orchestrator of the Gunpowder Treason. What particularly fascinates me is that Alan Moore stated how he struggled in developing the character's appearance, and when the artist Dave Lloyd jokingly suggested a Guy Fawkes-like figure, Moore immediately approved it. Moore's choice to give V this appearance perfectly conveys the character's devotion to anarchy, as Fawkes was an infamous anarchist that once attempted to bomb parliament, which is exactly what V does in the book's opening (and coincidentally took place on the same day, the fifth of November). Another aspect of V is the ambiguity of the character's morality. While the terrorist actions he commits are meant to bring down the dictatorship, they result in the destruction of historical landmarks, as well as the deaths of hundreds of party members. The character's morality is further put to question when he is revealed to have been a victim of the party's concentration camps, and carries out brutal physical and psychological vengeance against those responsible. Moore purposefully characterizes V in this manner, leaving the question of whether V is a noble freedom fighter or mad terrorist up to reader interpretation. Either way, V is indeed one of the most morally gray protagonists in comic book history, and is indeed an intriguing and well-developed character.

V FOR VENDETTA is a prime example of why Alan Moore has been hailed by many to be one of the greatest, if not the greatest comic book writers in history. The story is unbelievably well-written, it's characters are morally complex and developed, the book's themes of anarchy vs. totalitarianism are highly engaging, and each side is given equal treatment and time devoted to exploring their motivations and philosophies. Rarely, does work such genius see the light of day in comic books, and while I will always hold WATCHMEN as Moore's greatest masterpiece, V FOR VENDETTA indeed stands worthy of being recognized as the powerhouse of comic book storytelling that it is.

"Power is not a means, it is an end. One does not establish a dictatorship in order to safeguard a revolution; one makes the revolution in order to establish the dictatorship."
-George Orwell

To read more of my reviews on comics and sequential art, be sure to check out my website University of Panels, http://samhulksmash75.wix.com/universityofpanels#!comic-book-reviews/cgt5

What do you do when your government controls every aspect of your life? When propaganda replaces education? When art and culture and autonomy are slowly but surely stolen away? Well, we know from history and literature that there are quite a few ways to deal with totalitarian oppression. Winston Smith commits thoughtcrimes. Katniss Everdeen starts a rebellion (and put a bird on it). Guy Fawkes tried to blow up Parliament. Most of us, though–admit it–would probably just let it happen. In Alan Moore’s graphic novel V for Vendetta, Evey Hammond is willing to live out her whole life under the thumb of England’s new, fascist government, until she comes to a rude awakening through an encounter with a masked vigilante. The criminal/terrorist/vigilante/hero/Codename V rescues Evey from dirty cops who are about to rape and murder her, and from then on takes her under his wing (read: “awesome cape”). In the Shadow Gallery, V’s home, Evey’s eyes are opened to the horrors of the world she lives in, and she learns of the beauty of a reality filled with books, paintings, love, and anarchy. She also learns how to dismantle a tyrannical government V’s way. It isn’t with flowers and protests, but with blood and fire.

Read it if … you have a thing for masked men or anarchy or weird graphic novel fonts. The book is not as action-packed as the film adaptation would have you think, so come to this novel looking for political exposition and solid character development.

Don’t read it if … you wanted to read a superhero comic, or if anarchists killed your family. This book is preachy in some parts, and some of us can’t turn off the constant internal (or verbal) criticism of preachy books.

This book is similar to … other books written by Alan Moore. He’s a singular guy, and there certainly aren’t an abundance of talented graphic novelists who use their chosen medium as a political standard.

Read the rest of my review here: [...]

I LOVE this book, have read it a number of times, and after that I couldn't even look at the movie anymore--even though I thought the movie was great when I first saw it, having not read this book. But...I already have this! What I want to see is the black and white panels, not this hideous eighties coloring, and I don't care if it's "improved". I have seen the odd individual panel in plain black and white and it was some of the best, most solid drawing and inking ever, esp in how it managed to use negative space to define shapes rather than lines, and the coloring--no matter how improved it might be--obscures all of it. I put them side by side and there was no comparison, the color added nothing of value to me and only detracted from the beauty of the B&W image. If they could please put out even a cheapo B&W version of this, instead of just constantly reprinting the ugly colored version, I'd be so delighted! I don't need fancy editions, I just would like to appreciate the masterful skill of the original artist without the ugly distractions.

Regardless, I would still recommend this book to anyone, because it's amazing and multifaceted and you can't get everything out of it in one read, and it puts the movie to shame with its complexity--despite the ugly coloring.

In an alternate 1998 in England, it seems the government has turned fascist against the people of the country and making it a police state. It is ruled by the totalitarians and taking away some people's freedom in everything from some skin color, some races, some religions and even on sexual orientations as it's causing problems for the country even after a nuclear war in some parts of the world. A masked mysterious avenger named V becomes an anti-fascist anti-government avenger who fights for the country's freedom, he meets a lovely girl named Evey as he befriends her and falls in love with her thus the two together decide to bring freedom back to the UK.

One of the most groundbreaking and powerful comic book stories ever told! in 1982 till 1985, writer Alan Moore (Watchmen and Saga of the Swamp Thing) with artist Danny Lloyd have made a comic story that was printed in the UK;s comic magazine known as "Warrior Magazine" from 1982 till 1985 originally in black and white. However in 1985 when the company that closed down with Warrior along with it, Moore's story was not yet complete as 2 more were to be told. So he came to the US and did work on Watchmen and Killing Joke at the same time for DC, he decided to write his last 2 stories for DC for their new second company called Vertigo which makes comics aimed at mature readers as he still wrote stories for them like Swamp Thing. In 1988 DC/Vertigo reprinted the stories as a 10 issue mini-series in color for each one and has went on to become one of the most critically acclaimed comics in history then later in 1989 became a trade paperback graphic novel which has became one of DC and Vertigo's best selling graphic novels of all time. It's a very intelligent, dark and daring sci-fi story in the Orwell and Brazil (the movie from Terry Gilliam) kind of way as it shows the idea of how we can fight against facism and an anti-political statement as it's thought provoking and unique adult storytelling which Alan Moore is known for. The writing is just excellent as is the artwork from Lloyd.

I first read this graphic novel when i was in high school looking for cool graphic novels in Albuquerque which i would go every month to there and looked up online for what cool graphic novels to read and had to check out this, i loved it and made me think, depressed me and opened my mind. This also includes "Behind the painted smile" featuring a look behind the scenes of this remarkable work of art including sketches, sample comics from Moore/Lloyd and two short stories that were first presented in Wrrior magazine that were originally conceived as interludes to the storyline of the comics.

It's always hard to review something as highly regarded as "V for Vendetta", or anything by Alan Moore really. His works are almost universally applauded, and their reputations are almost bigger than the stories they tell. And rightfully so; these aren't comics, these are full blown novels that just so happen to be accompanied by intricate artwork.

I've been working my way through his works over the last few years, starting with "Watchmen", then "The League of Extraordinary Gentlemen", then "The Killing Joke" and now I've finally made it to "V for Vendetta" (and I've started "Saga of the Swamp Thing").

I actually saw the movie a few years ago and really enjoyed it, but I still wanted to read the graphic novel. Now that I've read the novel I want to go back and watch the movie again so I can compare them in my head. A few key differences stand out (from what I remember) but overall I would say the tone of the two felt the same, which I think is a credit to the screenwriter and the director.

So on to my review of the graphic novel. It's a dark story, in a dark future, told with dark and muted artwork. Most of the time the art works fairly well, but sometimes I had trouble discerning what was happening in certain panels (although, from reading other reviews, it sounds like this may just be an issue with the paperback). The artwork isn't black and white, it's very muted watercolor I think, but it may as well be black and white. And aside from V himself, a lot of the characters are very hard to identify from one panel to the next. Even the other main character, Evey, can be hard to identify as her look changes drastically throughout the book. Although, in regard to distinguishing characters one from the other, maybe this is done on purpose as the fascist government seems to look down on individualism. But I don't think that's really it, I think it just lacked needed detail, so the artwork (at least in the paperback edition) gets a 3 out of 5 from me.

I really enjoyed the story, although I do feel the pacing was a little uneven. Sometimes it was a real page turner and I was just fascinated by the writing, and then the pacing or the focus would change and I would lose interest and go to bed for the night to pick it up again later when it wasn't in such danger of putting me to sleep. But, overall, the story was great and I was interested to know what would happen next and how events would unfold, even though I'd seen the movie and had a pretty good idea already. I do think the cast of secondary characters may be a little too broad. It gets really hard to keep track of who is who between the government entities of the finger, the nose, the eye, etc. The previously mentioned lack of detail in the artwork doesn't help. I can't blame the folks behind the movie for whittling the cast of characters down a little.

I think some of the things I find most interesting about the story is some of what isn't expressly written on the page. Part of V's motivation is an actual vendetta, which starts the ball rolling, but part of it is something else, and he apparently chose Evey to accomplish that something else because, in a sense, V is a madman, but he'a a madman who's smart enough to know his role and to know his place. The ending between him and Finch is interesting as well, although it's left out of the movie, and Finch only makes a passing comment about it at the end of the book. But to me at least it imparts a bit of a sense of morality and justice to V, who for the most part is an amoral character who's just as violent as the government he opposes. Sometimes I enjoy subtlety in a story, not having every detail spelled out, and here these particular aspects of the story work well.

I give the story 5 out of 5. Average the two together and you get my rating of 4 stars. If you haven't read the novel and you haven't seen the movie, I highly recommend both.

One of the latest gritty, dark graphic novels to be adapted to film was "V for Vendetta," based on Alan Moore's futuristic comic of the same name. But as usual, the source is the most compelling.

First published in the early 1980s, Moore painted a frightening future where there is only one man who can challenge the fascist system. Is he an anarchic madman, or a freedom-loving visionary? Readers will have to decide for themselves, but the story is a fascinating action story that raises quite a few questions.

The year is 1998 (okay, pretend it's an alternate reality), and Britain is ruled by a fascist regime, and dominated by a shadowy figure. Order is the law. Blacks, gays, Muslims and Jews are relegated to concentration camps, where they are tortured with medical experiments and evil priests. The one exception is a horribly scarred man, who blew his way out with a homemade bomb. He donned a Guy Fawkes mask, and calls himself V, for he "has no name."

One night he rescues a young prostitute, Evey, from a bunch of thuggish policemen, whisks her down into his hidden base, and involves her in a trap-and-murder plot. Evey is both repulsed and fascinated by V's plots, especially when she is interrogated. And when an order-obsessed policeman closes in on V, both he and Evey must accept their fates.

"V For Vendetta" is a thinking-reader's comic. Fascism and anarchy -- both concepts that Moore clearly understands -- are timeless concepts that pop up periodically throughout human history. So even though 1998 came and went long ago, "V For Vendetta" is an intelligent, deeply compelling story that still resonates in its readers.

Moore's London is a rather dank, dismal place, apparently reflecting the government. He knows how to chill his readers with a diversity-free England that seems a lot like Nazi Germany. Even nonessential scenes like Evey's interrogation are absolutely harrowing. But he can also tug at the heartstrings, such as when Evey reads Valerie's letters.

And Dave Lloyd's artwork is rather flat and a bit faded-looking, though this is not very distracting. But despite the ordinary art, the novel is brought to life by the solid characters and surreal illustrations, with V as the most surreal of all -- just look at that creepy smiling mask.

At first glance, V is a vigilante hero in the tradition of Zorro -- the government is oppressive, and he's trying to take it down. But V is not a plaster hero, and his actions can be very morally ambiguous. Is he a hero or a madman? Did those experiments make him psychotic, or did they just give him courage? Moore leaves it up to our imaginations what he is. By the end, V has become less a person than an ideal.

"V For Vendetta" is a memorable, somewhat frightening graphic novel, which will leave you thinking about what you might do in such a world. A deserving classic.

Beautiful art, great story line. This is a classic dystopian tale. Some aspects don't stand up to time very well, given that the story takes place in the late 1990s, in a post-nuclear world where Nazis have taken over Britain. However, if you hang up your disbelief hat, and pretend it's an alternate universe, you can relax and go along for the ride.

Did I say relax? The story is tense, the world is dark, and the characters are terribly flawed. The content is pretty hardcore, as one would expect when Nazis rule. This story contains no gallant heroes in white armor, and as a close look at history tells us, such heroes may never exist.

This book has inspired movements in the present day. The Guy Fawkes mask has come to represent several modern anarchist-leaning, anti-corporate, anti-government movements, especially the hacktivist group, Anonymous, and as an influential branch of that, the less geeky Occupy movement. While our present day is certainly not as suffocating as the England in V for Vendetta, there is still a lot of political oppression, and real people suffering and oppressed in real ways. There are those who believe things in the here and now really are that bad. At the very least, they wish to prevent it from getting worse.

The message of violence in this book is a little unsettling. A few years ago, I would have shaken my fist in the air and, with V, called for revolution. But now? I believe revolution should be a slow and democratic process. Even if it is painful. Because violence is much more painful, and often ends in worse tyranny. In that sense, I hope people take this book as metaphor. Let the outrage show in persuasive words, not bombs, or even in angry words. In the end, well-formed arguments have liberated more nations from oppression.

From their wikipedia entries:

"While imprisoned, Beekman drew and embroidered. She would take a needle and prick her finger to use the blood as ink and draw on toilet paper as there was no paper and pencils."

"As the prison director testified after the war, Noor remained uncooperative and continued to refuse to give any information on her work or her fellow operatives, although in her despair at the appalling nature of her confinement, other prisoners could hear her crying at night. However, by the ingenious method of scratching messages on the base of her mess cup, she was able to inform another inmate of her identity, giving the name of Nora Baker and the London address of her mother's house."

And I am reminded of Louise's line in Thelma & Louise [HD]: "when a woman is crying like that she aint having any fun"

and Bruce Greenwood's line in Exotica: "How could anybody hurt you?"

Impressive! V for Vendetta is a phenomenal work of fiction. This is one of Alan Moore's best (surpassed only by Watchmen, in my opinion). It tells of a near-future England that has limped through war and disasters--now allowing fascism to offer safety. It is a frighteningly believable world: civilians do as they are told and those in power control and abuse. We follow main characters Evey, an initially timid and desperate young woman, and V, a mysterious masked vigilante who desires to free the country from oppression. It is a very character- and idea-driven plot, yet also contains some action and surprises. This is a very thoughtful and intriguing look at prejudice and personal freedoms. It encourages all to think freely and be open-minded.

This is a graphic novel, and the art by David Llyod is superb. The pen and ink work is high contrast and the coloring is beautiful. The style is subdued and fairly realistic, which fits this story well. My single complaint is that it was occasionally difficult to tell some of the minor characters apart, but it certainly wasn't a big problem.

This is a read for mature audiences. It explores such heavy topics as terrorism, homosexuality, anarchy, abuse and torture. Most of this is discussed rather than depicted, but there is a minor amount of blood and nudity. I was rarely offended by the artwork, but there were a handful of images I found gratuitous. I doubt younger readers would enjoy this work, but most adults will find the content fairly inoffensive. I would only avoid this book if you are very sensitive about mature content: violence and current issues as they may appear in the news, or nudity as it may appear in classical artwork. It is an adult read, but not one that I believe adults should avoid.

I urge you adult readers to try this one! If you have any interest in politics or current events, Moore presents some issues that are important to think about. Despite the heavy themes, it is also an enjoyable read. I found myself wondering what would happen next, and engaging with the characters regardless of their shortcomings. If V for Vendetta sounds remotely interesting to you: you owe it to yourself check it out!

Another foot of snow & its too hard to get around by car, especially when your car is stuck in an unplowed lot. What a perfect day, then, to finish Alan Moore's "V for Vendetta," a graphic novel about a mask-wearing terrorist blowing up London landmarks in the hopes of inspiring a revolution against England's reigning totalitarian government. Its basically a twist and shake of Orwell's "1984," except with an avenging superhero.

"V" isn't nearly so sophisticated intellectually as Moore's "Watchmen and that was disappointing. The earlier chapters, in particular, written, according to Moore, when he was younger and not yet wiser, are pretty simplistic fare. The story--and the characters--gets more complex as it advances from the halfway point on. Moore plants some nice suprises in the plot which would have been more of a surprise if I hadn't gotten the whole story from a friend who'd seen the movie.

So, despite a somewhat straightforward "black-and-white" plot, Moore does inject some subtle shades of gray into his story to keep us off-balance, attempting to challenge our received ideas about right and wrong, freedom and oppression, law and anarchy. Even more pointedly, "V" raises the discomforting question "when is it one's duty to take up arms against the 'lawful' tyranny of one's own government?" What happens when we discover that the Law not only has the potential to become the tyranny with the biggest muscles, but it also has the loudest propaganda?

These are questions that no government is happy to know its citizens are asking.

Luckily for the powers-that-be, few people will come away from "V" seriously questioning their own freedom or the line they would rather die than cross if it meant surrendering what freedoms they might still retain. What the best tyrannies manage to do is to instill in the minds of their citizen-slaves the myth that they are free. In creating a fascist future for England, Moore has exaggerated the fictional evil more than enough to camouflaged it in real life. In fact, by putting such an exaggeratedly "evil" mask on the totalitarian state in "V for Vendetta," Moore has done the oppressors an (involuntary?) invaluable service: he has made it that much harder to recognize the far subtler, far more benevolent mask that totalitarianism wears in our own culture.

Isnt that a cool conspiracy notion? That even at the level of comic books, the government employs propagandists; that the State uses writers--the best propagandists of all!--to create a reality we've never actually seen but implicity believe exists. These writers create stories, poems, films--and graphic novels--to put a mask on evil so we'll never recognize it ruling over our own lives. We'll always be looking for someone else, for evil to look like something else, for it to look, for example, as it does in this book.

I'm on to you Alan Moore! In "unmasking" V, you've blindfolded us!

Oh, btw, I almost forgot to mention it: the art. The art in this book struck me, overall, as surprisingly muddy. Whats more, so many of the characters looked enough alike it was difficult to distinguish between them. And yet...and you wouldnt think it possible given the preceding...it was often just as difficult to see the similarities in characters from chapter to chapter. There just wasnt enough consistency, it seemed to me, especially when the characters showed emotion or physical distress. This is especially true of Evie who's supposed to be sixteen, at times looks to be in her late 50s, and ends up looking like Shirley from Laverne & Shirley...no, no, that woman who played Suzanne Somers and John Ritter's roomates on 3's Company...she looks like that woman by the end of V, which is bad enough, but worse is that she looked nothing like that at the beginning of the story.

Anyway, this artist, David Lloyd is supposed to be some huge comic book drawing talent, judging from the way Alan Moore goes on about him in the afterword, but outside of a few panels and a handful of techniques here and there, I wasn't all that bowled over by it.

That's not why I'm thinking that I'll read a book without pictures next. Its just time.

There goes a plow. Help! I'm going to go outside and shoot an entire aerosol can of hairspray into the sky. We need some more global warming. We need it fast!

In the great Alan Moore's book "V For Vendetta," V is an intriguing anti-hero, strangely clad in a black robe and a Guy Fawkes mask, rebelling against the fascism of post-nuclear war England. The mood is Blade Runner meets Orwell's 1984. "V" is typical Alan Moore brilliance: deep characterization, dialogue that draws upon classic literature, and political/philosophical blood coursing through its veins. The interplay between V and his female "protégé" Evey is particularly satisfying; it both moves the story along and adds definition to the characters.

If you are like me and slept through most of the forgettable movie, go out and read this book! "V for Vendetta" shows clearly Moore's maturation as a writer, as he went on to masterpieces like Watchmen and Swamp Thing.

The artwork in this volume is not captivating and at times is hard to follow. Alan Moore credits the artist David Lloyd with being a co-creator of the storyline. I'm spoiled by the level of artistry in graphic novels today. The inking and colors in "V" are primitive in quality compared to today's stratospheric standards. Perhaps some of the sparse panels were done for artistic effect - so I could be misinterpreting what the artist was trying to accomplish.

This novel rises to the level of quality fiction such as 1984 or Animal Farm, dispensing with the tired superhero genre. On a broader level, this book made me contemplate why and how superheroes had hijacked the graphic medium in the United States for so long. Only recently are we getting top-quality "comic books" that don't deal with superheroes - such as "Fables" "Last Man" and "Ex Machina." "V for Vendetta" blazed a trail for those modern masterpieces, even though it took decades for them to follow.

What else can I say about this amazingly written novel? I loved it! The story was expertly crafted and there were tons of characters to follow (V of course is my favourite). I enjoyed the world-building and the way V crashed into everyone's lives. There were many heartfelt moments, and one that completely took my breath away––when V had a conversation with Justice. Absolutely loved it, a must have for all graphic novel enthusiasts!

The beginning suggests a unique and possibly unconventional narrative: "Good evening, London. It's nine o'clock and this is the Voice of Fate broadcasting on 275 and 285 in the medium wave...it is the fifth of the eleventh, nineteen-ninety-seven." A panel depicting a state-controlled factory, with perhaps one of many security cameras perched high on a lamp pole, immediately follows it. "For your protection," it says underneath the camera in stark black mocking letters.

Like in Watchmen, Alan Moore doesn't waste time getting into the universe surrounding the story. And every panel has its purpose here, whether it be seemingly pertinent or not, flavor material or pure narrative motion. He doesn't pass up on a chance to speak about the characters or this `past-future' world with every single crucial detail of art here. When V, as he is called and nothing else, goes about an initially unknown activity that leads to a shock bombing of the Parliament houses punctuated by a great tumult of striking pyrotechnics, we are there with him and in that way Alan brings us into his created world like no other comic writer does.

Evey knows she doesn't have a choice in this world but to provide some services of the lewd kind; approaching a man whom she doesn't take for much of a Fingerman (the equivalent of a policeman in this fascist ruled society) and gets into very hot soup because of it. After near-death, she has to bear the brunt of being taken in by V, whom we find out very soon to be a rather delicate, if very bizarre caretaker of sorts. The fabric surfaces more, with The Leader running things, coordinating an initiative to take down V for decreed revenge. The underlying system of this graphic novel seems contradictory to the claim that Watchmen was far more elaborate than what lies on the English-comic-strip-styled pages of V for Vendetta. Alan certainly doesn't lose a beat here, cementing the work with poetic prose.

Although terribly organic, an absorbing foray into the bleak nature of some of the more deviant characters, which although juxtaposed against an overt totalitarian form of government, grinds into the nominal truths of human nature. Reverend Anthony Lilliman would be a perfect example of morally pure externals overlapping wicked and sinful internals. After delivering an all-inspiring acclamation, he sees fit to indulge in a little sinful fornication. Alan doesn't tone down on the small, minute allegories.

The most amazing thing, perhaps, is the polished readability of this immensely British story (most prominent in the way women behave in this story for example) in today's modern times. It bears no disappointment as to the degree of quality it precedes as well (Alan was doing Swamp Thing while he was working on V), and it may even be passed off as a work of elaborate literature, albeit in the graphic form, a work surpassed by few graphic novels of its kind.

For those of you who have viewed the film and are thinking of reading the novel now, I was in your shoes. The first two books in this novel/series read very similar to the film. The third book is a conclusion that the film did not delve into. This book is tremendously intelligent and artistic, but its not the same walk in the park that the movie adaptation was. You will have to pay much attention to each character's story, as they all play significant roles in the end.

I agree with the overall praise for this novel, but I have to be honest and say that The Killing Joke and Watchmen impressed me far more than V. The reason would be that I totally lost track of each character in the third act. In the movie the characters were so defined and easily readable. In the book a lot of the characters look the same and initially appear very trivial. But their importance was unknown until much later in the book. My confusion, which could be remedied in a re-read, prevented me for enjoying this book as I did Moore's other work.

Aside from my troubles reading the third act, I did not leave V for Vendetta without reward. The intelligent plot-weaving and dialogue concocting was very top-notch and very Alan Moore. Moore always seems to be a disciplined writer, because it shows through his meticulous work. V for Vendetta is definately a comic with educational reward. It's very smart and it should make you smarter.

I'm sure that I'd be criticized for saying I enjoyed the film more. I'll say instead that the film and the book are two entirely different journeys. Yes, I took the non-comic-book-fan approach and watched the film first. I may have different opinions based on where I came from before I entered this particular piece, but I do believe I can be help to those who were in my shoes. If you saw the movie first, be prepared for a different ride. You may, as the majority does, enjoy the book much more than the film. You may also be like me; enjoy the movie experience more than the book. However, I am sure you will enjoy both to some degree and you will definately get your money's worth by collecting both. Alan Moore is yet to get a refund out of me, in fact far from it.

While Alan Moore remains best known for his work on the influential comic series/graphic novel Watchmen, the 1980s were an incredibly productive time for the subversive writer. Among a slew of successes came what is arguably Moore's second biggest work, V for Vendetta.

The three-part story follows the actions of a person known only as "V," who dons a Guy Fawkes mask as he preaches anarchism and carries out a one-man war with a totalitarian government in what was then considered the "near future," the 1990s. But like most stories that deal with the "not-too-distant future," V for Vendetta has much in common with current situations in the world, and as much has arguably stayed the same, the story remains relevant today.

V first appears as a Batman-like character, emerging masked from the shadows, striking fear in the enemy as he rescues a young girl, Evey Hammond, from corrupt cops who plan to rape and kill her. That's about as far as comparisons to the Bat go. V speaks as though raised on Shakespeare and proudly proclaims responsibility as the Houses of Parliament explode and fireworks light the sky. He apparently has no qualms about killing and destroying.

As the story unfolds, we learn more about V's background, as Evey learns more about the ideals of the masked man. V isn't through after the Houses of Parliament. There is a bigger plan, and the powers are scrambling to do everything they can to keep the propaganda rolling and bandage the damage V is doing to their ideals.

At its core, V for Vendetta advocates terrorism, or at least presents someone referred to as a terrorist as a protagonist of the story. He kills, bombs, and brainwashes in the name of his ideals. But that is what Moore challenges throughout. Is terrorism in the face of oppression "terrorism," in the negative sense, or is it patriotism if carried out in the name of a wakeup call to bring things back to the people?

There is an important battle brewing throughout the story involving "Fate" and "Justice." V for Vendetta is a book about ideals. This terrorist is someone who, literally in this sense, has been imprisoned, experimented upon, and tortured by his government. He wants freedom, not only for himself--he already has a slice of that in his subway dwelling--but for everyone. And he's fighting for it, breaking down the walls to give others the opportunity to do the same. He is like the protagonist of 1984, but he's willing to blow things up to change the world rather than run until he eventually gets a metaphorical bullet to the head.

The art of David Lloyd is unique, to say the least. The images strike a realistic tone but are often shaded in white, blue, and sometimes yellow tones that seem to deprive the panels of some detail. It is a style that may not work for many readers.

But at the core of things, V for Vendetta is about the ideas it presents. In a three-book arc, Moore creates a cinematic story that entertains and, more importantly, will leave readers questioning their ideals for years after the last chapter is read. It is another fantastic entry into the world of subversive comics by the industry's best.

-- William Jones

Jazzed by the movie, I bought the book and then let it sit around for a couple of years while other matters took precedence. Maybe I should have struck while the iron was hot because when I took up V FOR VENDETTA recently it seemed listless and drawn out to an excruciating degree. That said, I must admit that if I hadn't have seen the film I might have been more taken by Alan Moore's concept and David Lloyd's execution. It's great to have a comic dealing so openly and forcefully with anarchy-related materials, but if you ask me, the movie upped the ante in every respect; the movie made the Shadow Gallery the palace of art, music and culture it was meant to be, the privations of the outside world more real, more chilling.

I know people say that the movie is inferior in that V and Evey are more heroic and lack the complex moral shadings the book gives them. But what some see as "complex moral shadings" others might view as maddeningly etiolated monologues with no visible point. The chief plot twist is kept in the movie, where it's just as unbelievable--that V would torment Evey strikes me as absurd--but luckily some of the cheaply conceived, lackluster "Advise and Consent"-style subplots of the book were dropped entirely. The inner torment of Rose Almond for example. Moore does his best to make her struggle interesting but, well, it's not. Ditto with the sexual power games of Helen Heyer. Could anything be duller than this allegedly Marat-Sade affair? Later on, Moore got good at writing about women but here he's all ideas, ideas ill-suitedly sharing a bed with a wanky titillation.

And please, like everyone else I must register a protest against the horrible printing of the book. You can barely make out what's happening in fully a quarter of the pages. They should give you at least 25 per cent off the cover price, for 25 per cent is illegible, murky, muddy. They should be ashamed to offer this as a product.

One of the latest gritty, dark graphic novels to be adapted to film was "V for Vendetta," based on Alan Moore's futuristic comic of the same name. But as usual, the source is the most compelling.

First published in the early 1980s, Moore painted a frightening future where there is only one man who can challenge the fascist system. Is he an anarchic madman, or a freedom-loving visionary? Readers will have to decide for themselves, but the story is a fascinating action story that raises quite a few questions.

The year is 1998 (okay, pretend it's an alternate reality), and Britain is ruled by a fascist regime, and dominated by a shadowy figure. Order is the law. Blacks, gays, Muslims and Jews are relegated to concentration camps, where they are tortured with medical experiments and evil priests. The one exception is a horribly scarred man, who blew his way out with a homemade bomb. He donned a Guy Fawkes mask, and calls himself V, for he "has no name."

One night he rescues a young prostitute, Evey, from a bunch of thuggish policemen, whisks her down into his hidden base, and involves her in a trap-and-murder plot. Evey is both repulsed and fascinated by V's plots, especially when she is interrogated. And when an order-obsessed policeman closes in on V, both he and Evey must accept their fates.

"V For Vendetta" is a thinking-reader's comic. Fascism and anarchy -- both concepts that Moore clearly understands -- are timeless concepts that pop up periodically throughout human history. So even though 1998 came and went long ago, "V For Vendetta" is an intelligent, deeply compelling story that still resonates in its readers.

Moore's London is a rather dank, dismal place, apparently reflecting the government. He knows how to chill his readers with a diversity-free England that seems a lot like Nazi Germany. Even nonessential scenes like Evey's interrogation are absolutely harrowing. But he can also tug at the heartstrings, such as when Evey reads Valerie's letters.

And Dave Lloyd's artwork is rather flat and a bit faded-looking, though this is not very distracting. But despite the ordinary art, the novel is brought to life by the solid characters and surreal illustrations, with V as the most surreal of all -- just look at that creepy smiling mask.

At first glance, V is a vigilante hero in the tradition of Zorro -- the government is oppressive, and he's trying to take it down. But V is not a plaster hero, and his actions can be very morally ambiguous. Is he a hero or a madman? Did those experiments make him psychotic, or did they just give him courage? Moore leaves it up to our imaginations what he is. By the end, V has become less a person than an ideal.

"V For Vendetta" is a memorable, somewhat frightening graphic novel, which will leave you thinking about what you might do in such a world. A deserving classic.

Written in the early 1980s, V for Vendetta tells of an England in the then near future of 1997-8. A limited nuclear exchange devastates much of the world while England is directly unaffected. However, the enormous economic and political ramifications of the conflict hurl the nation into anarchy. Out of the ashes arises the fascist Norsefire regime. Sure they restore order to the fallen country, but this is clearly a case of the serum being more lethal than the poison. This new government sends blacks, homosexuals, Jews, and other minorities to death camps. The culture of the pre-War world is now deemed as evil and subversive. A corrupt police force is implemented with the authority to murder suspects if they wish instead of adhering to ideals such as due process. The average citizen is forced to work for starvation wages, and sometimes to crime just to survive. Freedom, democracy, and privacy are as archaic concepts as the world being flat. Then comes V, whose motto is the title of my review. Translated from Latin it means: "By the power of truth, I, while living, have conquered the universe."
Replete with Guy Falkes regalia, V seeks to bring about an end to the Norsefire party through a series of assassinations, bombings, and kidnappings. At first, they appear to be revenge against everyone who worked at the prison camp where V was held. Instead, the plot turns out to be more complicated and planned out than anyone could possibly imagine. V doesn't strike the Norsefire at their body, he strikes for their heart - and never misses. He has a contingency plan in the form of 16 year-old Evey Hammond, a girl he rescues from corrupt cops when she is forced into prostitution by her intolerably low wages. Of course, Evey doesn't agree with all of V's methods; but it is through him that she learns the very essence of freedom, and how she may be the true hope of England in its darkest hour.
VfV is not just a great graphic novel, it is required reading period. So what else can you expect from Alan Moore, who also brought us Watchmen, The League of Extraordinary Gentlemen, and a lot of other things that raised the bar for the comic book medium. I especially love the repeated use of the letter "V" throughout the story. Beware, there is violence, objectionable language, and a little nudity. The violence is really nothing when compared to a title from Marvel's MAX line. The language is pretty much the same thing you'd hear from a PG-13 movie. And the nudity is not for the purpose of titilation, it represents the symbolic idea of freedom. Even with my warning, VfV merits nothing except extreme recommendation from me.

Just as George Orwell wanted to entitled his most famous novel, which was published in 1948, 1948 and not 1984, so this amazing graphic novel is more about the emerging political scene in the 1980s of Thatcher and Reagan than about the future, a scene in which individuals were more and more refusing to fight against and mold their government. Dashing the hopes of the one libertarian reviewer below, the novel very definitely is not an endorsement of libertarianism (which is more an American phenomenon than an English one--e.g., very, very few people in Great Britain have heard of let alone read Ayn Rand). No, it is about how government can go wrong when we are not the leaders, but the pawns of leaders. Anyone doubting this needs to reread the preface that Alan Moore wrote for the complete edition: this is not an endorsement of the free market libertarianism of Margaret Thatcher; it is, in fact, precisely the opposite. The important British linguistic philosopher and logician Michael Dummett wrote oddly out-of-place prefaces for his philosophical works during the same period, as a devout Catholic with progressive politics lamenting the onset of fascist attitudes wrought by Thatcherism evidenced by new racial laws, expliciting lamenting that his nation had officially become a racist nation. Moore began his story by imagining Labor winning in 1982, collapsing later due to the pressures brought about by nuclear war between the U.S. and the Soviet Union, a fascist state emerging from the ruins.

V is one of the great figures in recent literature, whether regular literature or concentrating solely on graphic novels. He is fundamentally a mystery. We never learn his secrets, perhaps because, as Evey imagines, knowing his secret would somehow trivialize it. He is a hero, but he is clearly not in the train of the overwhelming majority of comic heroes. For one thing, he is an anarchist. If Superman was always at heart a super patriot, V is the precise opposite. He is an anarchist in the old fashioned sense of William Godwin, not a good Briton. The images found within this novel of a fascist, totalitarian state truly are the finest since 1984, and one of the book's great appeals is the comprehensiveness of the vision. V is presented as a political hero, a modern day Guy Fawkes, complete with period costume, but unlike Fawkes vastly more successful in his attempt to bring down Parliament. Visually, he is a brilliant creation, and David Lloyd's drawing of him are one of the glories of the book.

If one reads several of Moore's books, one is struck by the peculiar nature of his genius. Though he has chosen to work with illustrators, his vision truly is that of the novelist. The structure and architecture of his creations have the same balance of the finest novelist, and one is constantly amazed at how he has been able to produce a narrative that can be perfectly captured by illustrations. But in the end, the illustrations do not carry the narrative; instead, Moore's narrative provides the structure for the illustrations. I don't like to throw around the word "genius," but there are times that I think it aptly applied to Moore. Yes, David Lloyd does a spectacular job with his illustrations, but book after book written by Moore with different illustrations one detects something glorious, and it is hard to imagine that he isn't utlimately esponsible.

As Moore points out in his preface, this was his first effort at a long narrative comic, and there is some roughness at points compared with some of his other efforts such as WATCHMEN or FROM HELL. Nonetheless, one can't help but be impressed by the overall grasp of the story. This may be his first sustained work, but it is hardly the work of a novice.

Many will be aware that this is at the time that I write this review being made into a major feature film starring Hugo Weaving (Agent Smith of THE MATRIX films and the star of the great transvestite film PRISCILLA OF THE DESERT) as V and Natalie Portman as Evey. As a rule, very few graphic novels have survived the conversion to film. GHOST WORLD and SIN CITY are two exceptions that prove the rule. Previous Alan Moore conversions--in particular THE LEAGUE OF EXTRAODINARY GENTLEMAN, though not even FROM HELL can be accounted a success--have been ghastly. Rookie director James McTeigue worked as first assistant on both the final STAR WARS film and the last two MATRIX efforts, the latter interesting because V FOR VENDETTA is cited as an influence on the original MATRIX. I have two hesitations about this appearing in film form. First, most films based on graphic novels are simply awful, and the thought of the producers destoying another great story is painful. Second, masks work well on the printed page, but not so well in movies. I have enjoyed the Spiderman movies, but the masks get in the way of any human expression, not just with Spiderman but with the Green Goblin in the first film. I'm fearful that V will not be as successful onscreen because of facial immobility. Hopefully the filmmakers will be aware of this problem and will compensate accordingly.

This is one of the few graphic novels that I would strongly recommend to anyone wanting to explore the genre for the first time. It is a wonderfully told story with several compelling characters and story lines. And it contains one of the most charismatic heroes in all of the comics.

I picked up V for Vendetta for a variety of reasons. Of course, there is the movie that came out with Hugo Weaving & Natalie Portman. Alan Moore, a fantastic comic/graphic novel writer, also wrote the book. Finally, I'm doing some research on the graphic novel's form and this one was highly recommended (and close at hand).

Through the course of the story, we follow V from when he saves Evey from rape and being killed for prostitution by the government police - The Finger (after he has blown up the Parliament Building) through the assassination of key individuals and setting up the government to fall onto itself, opening the way for the "Land-of-Do-As-You-Please." Needless to say, V is crazy and does some questionable things (Evey's torture is high on my list). However, he does it all in the name of Anarchy, holding true to the ideal. This pushes him from the role of villain to that of an anti-hero.

The art is bold and simple, the framework easy to follow. Each character is distinct in appearance and behavior and ties into the growing chaos of the twining plots that culminate in the end.

Though the comic was written through the 1980's in response to topical ideas of the time, it does not come over as dated or out of place. Like 1984 or Brave New World, the story sets its own stage and there are still aspects of out lives that allow us to relate to it.

I managed to read the hardback version and then compare the paperback to the hardback. The hardback is printed on better paper, which results in clearer more vivid color. This is particularly pertinent with the black ink, for inking is an important part of the style of the book. Additionally, an essay that was written for the back of the second book of the graphic novel when it was originally released is published in the back of the hardcover. It helps give some insight into the creation and growth of the collaborative work that became V for Vendetta.

I would recommend this book to other avid graphic novel fans, and those interested in reading about dystopian futures as well. Fantastic writing and artwork.

I first read V for Vendetta as a serial in Warrior, a British anthology magazine. The first chapter I read was "Valerie" which is still one of the most incredible, heartbreaking, emotionally affecting pieces of fiction I've ever experienced in my life - in any medium. Naturally, of course, I then had to get all 26 issues of Warrior (which fortunately the store had), not realizing at the time it had been CANCELLED, like, the month before. The last chapter published was one of the biggest cliffhangers imaginable. It was that wonderful full page panel in which V says to Evey Hammond, "Welcome," in case you were wondering. It was another three frickin' years before I got to read the rest of the story.

You're really missing something by not getting to see the original covers from Warrior that featured V for Vendetta. There was never a cover on that magazine that wasn't excellent, but some of the V for Vendetta stuff was particularly memorable. Picture a photo cover of a darkened alley. At the end of the alley, we see a human figure in silhouette, standing on top of a building, wearing V's distinctive cloak and Puritan hat, and the tagline, "Pray the Future Will Never Need V...for Vendetta!"

Ah, good stuff.

Warrior ceased publication in 1985. In 1988 DC Comics reunited Alan Moore (the writer responsible for the original stories on which the movies From Hell and The League of Extraordinary Gentlemen were based) and artist David Lloyd to finish the series, which was published in 10 monthly issues, then collected in hardback and trade paperback. Be aware, by the way, that the original Warrior stories had the artwork printed in black and white, but the DC stuff has been "colorized" in pastels. I think Lloyd's art looked better in black and white, it had a very harsh chiariscuro effect that worked really well with the grim subject matter.

I've thought for years that V for Vendetta would make an extraordinary movie, but I question whether the intellects (hack! cough!) behind the last two Matrix movies can do it justice.

"V for Vendetta" is a cleverly paced and brutally realistic tale set in a nightmare future. The elusive protagonist, a mask-clad vigilante who goes by the initial "V", sets himself as an adversary to the repressive regime of "Norsefire", the Fascist organisation that assumed power. The plot abounds in a number of exciting episodes, in which the hero outwits and overpowers his enemies using an array of lethal gadgets and skills in the deadliest martial arts. The story is redeemed by its sense of irony and sarcasm, especially during the soliloquies of the masked avenger, (the parallel with Batman cannot be ignored) in which he denounces the ruling elite with anarchistic phrases and anti-Establishment maledictions, as in the scene in which he scandalously addresses the blinfolded statue of Justice, prior to annihilating it with a bomb disguised as a rose. The "piece du resistance", however, is his poisoning a corrupt priest with a communion wafer spiked with cyanide... Lashings of humour, of so dark a hue are seldom found. The cinematic conception of the plot, (with "intercutting" between different scenes) the beautiful illustration and the psychological realism in the characterisation attest to the high gifts of Lloyd and Moore in the genre of the graphic novel and I look forward to their other works.

Verily, this Vichyssoise of Verbiage Veers Most Verbose...

A rare instance where I heartily enjoyed the movie more. While both have their problems I found those in the movie to be ultimately more bearable, if only for the fact that it's two hours and you're done. Also the Wachowski's rewrote the fascism story in the movie to coincide a little more closely with the Bush era. Interestingly enough, the problems with both the book and the movie are directly inverted.

Where the movie used cliche to fill in complex gaps, the graphic novel was too complex in parts that ultimately should have been simple exposition. As I understand it this is one of Alan Moore's earlier works and, while a lot of what people love about him is here, there are whole scenes (3-4 pages) where characters pontificate about their various ideologies while nothing else is going on but for them walking from one room to another. I felt as though Moore was so anxious to explain the merit's of his personal philosophy (I hear he's a anarchist, socialist, wizard in real life (check the picture of him here!)) that he lets telling a good story slide too much.

This didn't happen in Watchmen for example. There was never a moment where I felt someone was monologue-ing for the writers sake and thus breaking character. When Ozymandius goes on a tangent about his evil plans in the end, it is as it should be, and not interrupting the flow of the story.

There is brilliance here of course ad it's more of a 3.5 than a 3 for me but Watchmen was for superior and...I feel guilty for speaking such sacrilege ... but I found the movie to be a little better told than this was.

Back in1981, Moore imagined a post-apocalyptic 1998 in which Great Britain has become a racist, anti-Semitic, homophobic, and Christian fascist state, all run by "the leader" who sits at a bank of video monitors run by a central computer. (For some reason, many readers have the mistaken impression that the setting is one in which the Nazi's won WWII, even though it's clear from flashbacks that that's not what happened). While it's a clear reaction to the Thatcher regime, the setting draws directly from Orwell's 1984, and other dystopian literature.
However, standing against this bleak world is the anarchist vigilante "V". Modeled roughly on Guy Fawkes, who attempted to blow up Parliament back in 1605, V is empowered by superhuman physical and mental attributes acquired while the subject of Mengle-like medial experiments in a now derelict state concentration camp. He's now using his abilities to methodically kill all the government personnel associated with his torture. And when he's not killing people, he's sneaking around blowing landmarks and generally bringing the state to its knees. An important theme Moore hammers home here is that the state is not solely to blame, but the people who place their popular power in the hands of the state are equally to blame. (Those who are interested in this particular streak of political philosophy would be well advised to check out C. Douglas Lummis` book, Radical Democracy.) Instead of a superhero saving the populace, we are given an ambiguous vengeful killer instructing the populace to save itself.
There's a whole subplot involving a teenager V rescues from the streets. However, she's largely used as a subject for him to talk at, and for the reader to get the backstory of the setting. There are a number of other subplots as well, involving the shady state functionaries, and Moore does a lot of cinematic intercutting between the various storylines. The story gets somewhat too theatrical at points, and drags at other times, and V's constant quoting (Rolling Stones and Velvet Underground lyrics to Shakespeare) gets old fast. The art is generally pretty nice, although the color isn't really to my taste, it might have looked better in simple black and white. However, it's a pretty decent quick meditation on what it means to be free and how each individual must look within themselves for the answer rather than assigning that freedom to someone else to safeguard.

In an alternate universe England, a vicious, third World War destroyed the country's government, allowing right-wing, Nazi-like dictators to take over and transform it into a fascist police state--a living hell of a place where secret police run the streets and the ones in charge use hidden surveillance to keep watch over everything and everyone at all times. Everything now seems "normal" and free of any crime, evil or corruption. But there is one man who sees the true ugliness behind everything, a man, a Guy Fawkes mask-clad, cloaked, anarchist revolutionary known only as "V," who uses vigilantism and terrorism as "message." This "V" is actually a former prisoner and guinea pig to a dangerous hormone that most likely caused him to lose his mind, from one of the hellish resettlement camps abundant during the war, condemned for his radical, political beliefs. But now he's back, and he has vendetta on the brain. But his violent tactics are only a small part of a theatrical, one-man conspiracy to destroy England fascist government. Along the way, V rescues a young woman, Evey Hammond, who proves she may be of some help to the radical vigilante.

Most likely playing seconds only to "Watchmen" as Alan Moore's greatest achievement, the master writes his deepest, most personal fears into "V for Vendetta"--a world without people of different race, sexual orientation, political dissidents, anything that reminds us of diversity. What Moore says in his work is without diversity there is no spiritual growth, and without spiritual growth there is no freedom, and without freedom there is no choice, and without choice there is no real justice. Although "Watchmen" is regularly regarded as Moore's best work, "V for Vendetta" deserves as much praise, if not more. In some area's "V for Vendetta" is actually stronger and scarier than "Watchmen," mainly because the main "hero" uses terrorism to make the world a "better" place. "V for Vendetta" is also a more, possibly the most, personal of Moore's writes because of the way he describes his innermost fears--a disturbingly real world where diversity is banned in a Nazi-like England.

What I like best about Moore's works is that he always has some kind of significant point to make. Similar to "Watchmen," "V for Vendetta" is a story based on the "how much one COULD do for the world over how much one SHOULD do" formula Moore is known for. He does this brilliantly, and V is his most psychologically driven, and interesting character in any of his previous/future works. As a side note, it took me some getting used to Dave Lloyd's gritty, often flat, artwork (especially after Dave Gibbons' much "cleaner" artistic contribution on "Watchmen"), but it somehow fits the overall atmosphere and disturbing theme of Moore's dark story. I recommend this book to anyone who likes to think, to anyone with a taste for great, symbolic literature, and to all graphic novel enthusiasts. England prevails!

I'll admit it . . . I picked up this classic by Alan Moore more out of curiosity for the upcoming movie than for the many good things I've heard about it.

I've got one word-wow. This graphic novel is beyond mesmerizing. I suppose this shouldn't have been much of a surprise considering that Alan Moore rarely misses with this genre. I literally could not put V For Vendetta down.

It's the story of a post-apocalyptic England. It's the year 1997 (keep in mind this was written in 1983) and the world as we know it is gone. Warfare has destroyed much of Western Europe, and it is only after a fascist political party steps up to take control over a lawless England that some semblance of order resumes. However, things quickly go wrong and the people of England move from lawlessness to total oppression. I'll leave it up to you to draw the comparisons to real life.

One man, however, rises above it all to become a hero of the people. He is a champion of Anarchy, saying that he believes people should voluntarily rule themselves, and he seems quite insane. However, he fights to defeat the oppressors, and so we cheer for him. He may have been one of our original anti-heroes in the graphic novel medium. His identity is a mystery, as is his source funding for his elaborate operations, but he fights against the tyrants ruthlessly, using what many would call terrorist methods. Again, as you can well imagine, this brings up many philosophical questions.

The art is adequate, though I wasn't a huge fan of it, but the dialogue and plot are exquisite, as is the tone and pacing. Moore has gone on the record as saying he has not been happy with the film interpretations of his work, so much so, in fact, that he now refuses to have his name attached to them. Let's hope that the film version of V for Vendetta pleases this modern day master of the graphic novel literary form.

~Scott William Foley, author of Souls Triumphant

Alan Moore, V for Vendetta (Vertigo, 1990)

If there is any justice in this world, a thousand years from now, the name "Alan Moore" will be mentioned, and the word "Watchmen" will still immediately be heard. Moore, creator of arguably the finest graphic novel of the last century, had already made a habit of turning out excellent work; this book (started a few years before Watchmen, but finished slightly afterwards) is hard evidence.

V for Vendetta (as I write this, soon to come to us in film version) chronicles a near-future Britain (well, okay, it was "near-future" then; the book is set in 1998) where a Fascist government has taken over and most of the world's population has been wiped out by a nuclear war. Into this atmosphere comes V, a Guy-Fawkes-masked vigilante, who saves young Evie from a gang of cops, then allows her to recuperate at his place, where he has done his best to preserve the culture stamped out by the fascists. V has a plan, but no one's quite sure what it is at the beginning. Eventually, the world thinks it knows-- but only Evie gets the full picture, which is as startling as it is fulfilling.

Well, fulfilling except in one sense. To say what that sense is would be a spoiler, but I'm sure those who've already read it know what I'm talking about. (And to you I say: yes, I know that answering that unanswered question would have undermined the whole point of V's character. But I still want to know.)

If you get a chance-- and you should, as Vertigo have just re-released the book in preparation for the upcoming film-- read this before the movie comes out. It's good stuff, as is to be expected from the prolific pen of Alan Moore. *** ½

England turned into a fascist state ran in several sections by one pollitical party. Loud speakers, blathering false statistics and news to every corner of London. Propaganda trying to control what common people think. A horrifying future where the power of the state means more than the rights of individuals. Yeah, you have heard it all before. Obviously Alan Moore was very inspired by George Orwell's brilliant classic, 1984 when he wrote V for Vendetta. Still, the shaggy genius of comics inserts enough of his own luminous ideas; smooth, cinematic narration and amazing action scenes to make V for Vendetta an intriguing read. The themes of personal responsibility take a larger role in V for Vendetta than they did in 1984 by the way of Evey, a callow teenager from the streets V takes under his caped wing who learns what the laziness and action mean when society tries to keep the common people oppressed. And what about V? Moore and Lloyd's mysterious, theatrical masked anarchist quotes everyone from Shakespeare to the Velvet Underground as he charismatically dashes through the Orwellian world, fooling enemies and dazzling readers. V for Vendetta may be firmly grounded in Orwell's masterpiece but Moore's own creative genius make it a work only one or two notches down from its predecessor.

In the early 1980's, Alan Moore (Watchmen, League of Extraordinary Gentlemen, From Hell, chances are if you're reading this you know the list) began this chilling work. In an alternate world, it's 1997, and America and the Soviets have nuked each other to extinction. England is left, now under a fascist regime, and everything seems to be under control, until a mysterious terrorist, wearing a Guy Fawkes mask and calling himself V, begins picking off government officials and destroying buildings and monuments. Moore's storytelling is nothing short of chilling; from the basic element of the loss of freedom to a totalitarian government to just who really fights for good (is it V or the government?), V For Vendetta is nearly unforgettable. That combined with David Lloyd's ultra eerie washed out color art make this one of the most chilling works in the world of comics you'll ever likely find. It's not as profound or as important as Moore's Watchmen or his Swamp Thing run, but this is still worth reading.

Maybe my expectation were too high after reading my first graphic novel "Watchmen," but I was rather underwhelmed by this critically acclaimed story.

The concept was intriguing. Moore once again creates a clever political dystopia. The novel is set in 1990s UK which is under the rule of the fascist party. The party came to power after a nuclear war which eradicated Africa and Europe and drastically changed climate which in turn caused various natural disasters, hunger, and chaos in the country. V is a masked vigilante whose goal is to overthrow the totalitarian government and to bring the country into a state of anarchy which, in his opinion, will help people of England to establish a new fair and honest regime.

I did like the idea of the book (BTW I wonder what was so special about 1970s that gave Moore these crazy dystopian ideas), as for the execution, it definitely lacked. First of all, I think this book should have been longer to provide better background for both characters and events. For instance, it was said that UK was under totalitarian regime, but it was not really shown what exactly was bad about it aside from surveillance and arrests of minorities which had happened decades prior. What I mean is, the everyday struggles of people under this supposedly oppressive regime were never described, and therefore I didn't really come to care for this regime to be overthrown. In regards to characters, I would really want to know more about them if just to be able to distinguish numerous men in suits from one another. Seriously, there were so many of them, they all played some significant role, but I was always lost. If I am honest, I was able to completely understand the book only after reading plot summary on wikipedia. Until I did that, I was a little confused who did what and why. This brings me to my next concern - the story itself wasn't structured very well, it was choppy, story lines ended abruptly, and many questions were left unanswered in the end. Finally, my probably biggest disappointment had to do with the fact that identity of V was never revealed. He had such a great background story, but I felt I never knew him enough.

Overall, a great idea, but poorly executed. I'll try other graphic novels in future, hopefully "Watchmen" is not the only one which is worth reading.

I expected a lot of this Graphic Novel, but it was even better. This one really blew me of my socks. What we get to see is an alternative timeline in which Germany actually won World War II and where England has turned into a fascist state. People live very cautious and affraid because everything they say or do is being monitored, and they've been overly restricted by their own government. Then oneday a mystic figure appears and he rocks the city. He murders people of importance, he blows up government buildings, and nobody knows a single thing of who he is or why he does the things he does, except that he's codenamed himself V. Meanwhile V takes a little girl under his wing who he teaches things about his history, about herself and about what is happening. But over time the government is getting closer too. Along the story more and more is explained about who V is, about what moves V, about the real consequences the war has cost and about the value of a free will. All this is illustrated very appropriatly by David Lloyd in a bit of a cinematic style. This makes the flow of the story even better. For me personally this is the best Alan Moore Graphic Novel I've read so far and I would easily recommend it to everyone who is looking for something more than superheroes. Even when you're normally not that much into comicbooks this could very possibly still be one heck of a ride for you ...

Although comic creator Alan Moore published his groundbreaking Watchmen before V for Vendetta completed its run, V was his first work in what could be described as a related series of graphic novels, starting here, progressing to Watchmen, and concluding with From Hell (if, in fact, there is a "conclusion.") Moore's meditation on the nature of heros, good, and evil - in short, morality, justice, and everything we hold dear - begins here, with a strange, familiar, yet distant tale of the not-so-distant future.
England, 1997. The US and the USSR have nuked each other back to the stone age, and England has been left to its own devices. A fascist regime has assumed power with the will of the people, with the simple goal of England's continued existence - by whatever means necessary. Unfortunately, a genetically-enhanced terrorist, dressed as Guy Fawkes, has been blowing up buildings and assassinating key members of the fascist government. The story belongs to this terrorist, who calls himself (or herself) "V", but it's really about the differences between heros, villains, good, and evil.
V kills people and destroys property - innocent people at that. He does it in the name of Freedom, but the Fascist regime V fights against kills innocent people in the name of England's very survival. Who's the terrorist here? Who's good, and who's evil? It's a fascinating question, and like any great artist/thinker, Moore doesn't provide an easy answer. Were the American "patriots" who fought the British by destroying property and killing innocent people terrorists, especially in light of recent events? Is terrorism and patriotism based on our perspective? Is there any time at which fascism, and his twin sister, nationalism, can be excused because it will ensure the survival of a people?
Fascism and nationalism are based on emotional rather than logical thoughts, and V's quest for freedom by terrorism is no better. Either way, arguments for fascism and the methods V employs to fight - indeed, the methods by which any "patriot" or "terrorist" fights against a government - are Utilitarian at best. Is this suffecient to procure freedom? Must we always abandon some degree of morality, cutting our losses and giving away our souls, to live "free" or "survive?" It's something worth considering, and if anything will make you think about it, this brilliantly crafted, lavishly illustrated work of art will do just that. Enjoy.

Befitting its lofty reputation in the graphic-novel genre, Alan Moore's V for Vendetta is a masterwork, a morality play of epic proportions, taking place in a possible futuristic England (actually, it's the late 1990's, but it was futuristic when the story came out) and bringing to life its author's frightful dystopian vision of a country on the brink. David Lloyd's darkly minimal artwork perfectly mirrors the rot lurking under the orderly façade of Leader Adam Susan's fascist regime, a façade Moore's story penetrates to reveal the ugly truth that things are much as they are in any other society. Corruption, intrigue, and double-dealing still rule the day, whether it be cops taking advantage of a naïve teenage girl trying to earn some extra money working a corner, the ambitious wife of a party official paying off a gangster to help ensure her husband's rise for her own ends, or a dirty old Bishop using his position to arrange for illicit sexual encounters with girls a bit, er, on the younger side.

However, there a couple of true believers out there, namely Susan, who's abandoned any hope of luxury in order to devote his life to the Nordic race; and V, the book's title character, the unidentified terrorist trying to bring down the order that Susan and his followers have created to clear the way for a new, voluntary anarchist order. It's the conflict between these two men and all they represent that frames the story, and while much of the attention is focused on V, there can be no V without a Susan, and the central tension between their ideals is always present.

Now, the term "terrorist" has certainly acquired a decidedly negative connotation in this time and place, conjuring up images of Muslim fanatics piloting airliners into skyscrapers and planning God knows what else, and V does indeed commit some actions that could be considered reprehensible. But as anyone who pays attention knows, one man's terrorist is another man's freedom fighter, and V seeks to bestow on the people of England the kind of freedom that few ever talk of, let alone achieve. Hiding his visage behind a smirking Guy Fawkes mask, V is a sort of mix of the Phantom of the Opera and Fight Club's Tyler Durden, offering the people of England the tantalizing prospect of liberation from the prison that they themselves have created. Transformed both physically and mentally by his harrowing tenure in one of the government's relocation camps after the post-Cold War ascension to power of the fascist Norsefire Brigades, V has now dedicated his life to performing stunning acts of violence and subversion, hoping to rouse the people of England from the comfortable chains they currently wear.

Now, at this point it becomes necessary to distinguish between license, which many people the world over have, and freedom, which requires the kind of sacrifices that people in affluent societies like ours rarely contemplate. In this country, we talk of "freedom" (and launch wars in its name) while simultaneously paying confiscatory taxes and obeying ever-more restrictive laws, but V offers the real thing: the freedom that comes from having nothing to lose, from being ruled by principles rather than possessions. It can be gained in strange places, such as the "prison" where V's young protégé Evey discovers hers, but it can never be bestowed or taken away from without.

Of course, V for Vendetta leaves unanswered a crucial question, namely: do people really want freedom of the sort that V holds out? Or do they just want order, comfort, and stability? Under the rule of Susan, the people do have order, and uniformity, and propaganda disguised as entertainment (or is the other way around?) and a landscape unblemished by the sight of the yids, the darkies, the nancy-boys, and the beatniks. Sad to say, that may be all they really want. In V for Vendetta, V and Susan represent the two conflicting poles of mankind's desires, and it's not at all clear which one will win out. It does, however, make for a pretty rousing read.

I'll try not to say anything about this that hasn't been said before but that's unlikely, considering that this is Alan Moore.
Make no mistake about it. This is not Watchmen. What we have here are ideas from books like 1984 and Animal Farm presented in comic book form with a sort of batman-like hero at the helm. It succeeds by creating a uniquely British atmosphere with beautifully illustrated scenes in washed out, dystopian colors. There are many characters speaking in rather thick British accents, and probably dozens of English landmarks or locations that I don't recognize.
Interestingly, it also took out the comic book sound fx and narrative. Everything is done in dialogue. What's kind of tedious though, is that V talks like a fortune cookie, quoting this book or that. He comes across as a man of only a few words of his own, with the rest of the characters reciting his story.
If this was a movie, I'd reccomend rental instead of buying. Try it at your local library first.

It is a testament to our times that a graphic novel put together piece by piece in the 80's in Britain finds such a resounding echo in 21st Century America. It has always been a human proclivity to sacrifice freedoms for security in times of uncertainty but Franklin was right that "those who woud sacrifice freedom for security deserve neither," and this is part of the philosphy that drives our V in "V for Vendetta." It is interesting that many Britains today don't do much with Guy Falkes day and that Britain has been secure enough in the past decades that many in the current generations forget the type of sacrifices that their grandparents or great-grandparents went through to help defeat fascism. But Britain (and by proxy America) gained its stability by and sense of democracy through centuries of strife and bloodshed to bring about the freedoms that we cherish today. "V for Vendetta" reminds us that the old and trite truism that "one man's terrorist is another man's freedom fighter," still has some bite even in a post-9/11 world and that one of the prices we pay for freedom is to constantly question our governments, the intent of our leaders, and our place in such a world... agree or disagree with V's methods, at least the graphic novel has the strength to make you think and ask, " What would you do?"

I really enjoyed the main story line. It was interesting and certainly kept my attention, but there are a lot of bizarre details and side stories that made no sense to me and kind of ruined the story for me. It was worth reading once, but I certainly won’t pick it up again.

From start to finish, through lyrics and philosophy, through mixed up characters and illegible drawings, through gore and chaos and 'The Second Coming' by Yeats, this book is perfect. It is puzzling and more then once you will wonder if you missed something, but always trust that Moore will come through and make things a little easier in the next few pages. He often juxtaposes events and dialogue so that the images and text are unmatched and spell out a larger meaning, which I think is genius and is a really good way to use the comic book format to full advantage. I loved Evey and the scenes with her in prison alongside Simone's letter were gorgeous. I think I will have to read this again to understand a few things that I'm sure were lost on me but, on first reading, 'V for Vendetta' is an amazing experience.

This is some of Moore's earliest published work, but I've somehow missed it until now. The setting is Britain near the end of the 20th century (as seen from a grim, antidemocratic present when Margaret Thatcher was in power), a future in which a limited nuclear exchange between the U.S. and the Soviets has made much of the planet uninhabitable and a fascist takeover of Orwellian proportions has rid the UK of "undesirables." One man, a survivor of medical experimentation in a concentration camp, is getting even with those who shot him full of drugs and hormones. This revenge-seeker, known only as "V," is not a superhero but he's a lot more on top of things than his enemies. Sixteen-year-old Evey, who botches her first desperate attempt at prostitution, becomes a fixture in V's life, and finally his heir. The plot, though, is complex and subtle, much more dependent on the text than the art, with deeply developed characters and a good deal to say about the nature of freedom and making an excellent case for anarchy (which is not the same as chaos). It doesn't move as well as _Watchmen,_ but it's certainly worth a careful read.

At its heart, "V for Vendetta" is about two very similar men, separated and drawn into a bloody duel to the death, and yet bound together by an umbilicus called the Fate Computer, each willing to sacrifice anything and everything for an idea.

In this regard, "V for Vendetta" is a tale about cruelly separated twins, a kind of "Prince and the Pauper" for the Orwellian post-nuclear age.

The men? The anonymous terrorist firebrand 'V', cloaked and booted and features masked in the costume of Guy Fawkes, the infamous 17th century terrorist who plotted, in vain, to blow up Parliament.

On the other side of the looking glass, the titular 'Head' of a post-apocalyptic, riot-ravaged England's fascist government, Adam Susan, a man buoyed to power on the shoulders of the Norsefire brigades that brought order out of chaos in the final days of a tottering, damned British Empire.

Both men are extremists in their fashion: willing to kill for their ideals: one for pure, unfettered, anarchic Liberty, the other for Order.

Both offer ideas they will kill and maim and ruin for.

Both embody and enshrine a Grave Lady as the incarnation of their veneration: both of these Dark Ladies, Lady Justice, and Lady Fate, have betrayed their idealistic lovers, in fashions that will not, until late in the tale, become apparent in scope or nastiness.

Is it not startling, not dreadful, the extent to which we Men, mere brutes in clothes, will draw daggers and plunge them bloodily deep for our mistresses, our Despot, tyrant Ideas?

It is best, I think, to leave you only the barest of essentials as to the nature of "V for Vendetta", because you're best to experience the cold grue of our rooftop bomb-thrower for yourself, with no preconceived ideas.

Know this: the World of the 20th century has ended. It has boiled over, and burned away. The Cold War flared hot: the missiles traveled up over the Poles, crossed, rained down on the adversaries. The American silos in Britain, long protested, had been rendered toothless, the missiles moved off British soil: and so Britain was spared, while Europe died.

In this cold, guttering world of Death and brutality, this charnel house London that lies prostrate beneath the blackened spires of Westminster, is it not too difficult to conclude that the Dead are the lucky ones?

The story is simple and stark: that the graphics and colors by David Lloyd are comparatively crude (by the standards of Moore's "Watchmen", which I read immediately before "V") only enhance the feral, desperate quality of this brave new world. The chary illustrations and the bleeding colors only underscore a sense of wan desperation, of brutal plans drawing to a close, of beauty profaned and lost.

This is all you should know: young Evey is filched from the deadly clutches of the Head's sadistic Fingermen, seconds after her bumbling attempts at an assignation go horribly wrong---filched from their clutches into the chordite-lined 17th century gloves of "V", a brooding vigilante who stalks the chimney pots of this Dead New London, spinning out couplets, unleashing death and destruction.

She survives, and regains her health, in the confines of his lair, and becomes willing---but uncomprehending---accomplice to his war against Adam Susan's 'tyranny'.

The devilish brilliance of Alan Moore's "V for Vendetta" is that Moore never forces us to choose sides. Granted, we are given very little of the Disloyal Opposition's view, while by contrast we are bathed in the ambivalent, enigmatic world of V's Shadow Gallery.

Both V and Susan promise liberation: one from the shackles of tyranny, the other from the jaws of disorder. Susan gives us shadow-men pounding on your door at 3 in the morning, anonymous death by truncheon out behind the chemical shed: V gives us terrorist bombings and enlightenment through torture?

How can we choose? And what greater horror, really, is concealed behind the Mask?

JSG

1997. London. Sixteen-year-old Evey Hammond, short of cash, walks the grim back streets in search of a man who will pay her for sex. It's her first time. She's scared. And, worse, unlucky.

"You don't know what you're doing," a man says, as he grabs her and flashes his badge. "Or you wouldn't have picked a vice detail on stakeout."

What's her punishment? "We get to decide what happens to you....You'll do anything we want --- and then we'll kill you."

A bit extreme, wouldn't you say? But wait! Here comes a man in a long black cape and a big-brimmed, high-peaked black hat. He recites a passage from "Macbeth" --- and calmly wastes the cops.

And then, almost as an afterthought, he blows up Parliament.

Oh....did I say Evey's rescuer --- he calls himself "V" --- wears a white, full-faced, grinning mask?

And that 'V for Vendetta' is a comic book --- okay, a graphic novel, 265 pages long?

Those in the Know had a tip-off in the author's credit: Alan Moore is the mad genius of the illustrated novel. David Lloyd is his equal at creating images that match the mood of Moore's fantastic stories. This book, written from 1981 to 1988, is their masterpiece --- and the inspiration for the movie by the Wachowski brothers (creators of the 'Matrix' trilogy.)

There are technical reasons why newcomers to this genre can be excited by 'V for Vendetta.' Unlike old-fashioned comics, there are no panels that signal action --- no "Blam!" and "Pow!" and "Oooof!" And there are no "thought bubbles" to take us inside the characters' heads so we can share what passes for thinking. The result is a streamlined book of considerable beauty.

More to the point, this format lets Moore tell a story that is long on ideas and short on action --- and is still absolutely thrilling. In post-nuclear-holocaust England, "Leader" has the people under total surveillance. And the government propaganda machine --- the "Voice of Fate" --- is the only media permitted. There are no dissenters, and yet it seems that citizens are constantly being arrested for "terrorism." For all but the very privileged, England is Hell on earth.

Will V take down the government? Who, really, is V? And what destiny does V plan for Evey?

It would have been easy to invoke the dystopias of Orwell and Huxley and portray this fascist state as the logical extension of Margaret Thatcher's government. But as Moore knows better than most writers, Fascism is essentially a theory of government that sets order above liberty and regards politics as the agent of business. Moore grasps the bitter irony of the Allies' victory over Hitler and Mussolini; in the decades after the war, the winners consistently traded their freedoms for "security." By the l980s, most people in "free" countries were unfree drones, addicted to mass entertainment and quite happy to believe any lie their governments told them.

"V" is not exactly a traditional liberator. He's an anarchist, and a very refined anarchist at that --- he believes that every citizen must take responsibility for himself. And much of the novel consists of his ongoing dialogue with Evey about politics and philosophy. Heavy going? I'd say exhilarating. And not just because Moore is a sharp thinker who avoids banality. I'm equally dazzled by the range of his quotations and references ---The Rolling Stones, Alistair Crowley, William Blake, Martha & the Vandellas.

I fear that most readers --- and film audiences --- will miss the subtleties and hear only the remarkable (for a corporation like Warner Brothers, anyway) advertising slogan for the movie: "The people should not be afraid of their government. The government should be afraid of the people." The big takeaway of the book is more intellectual: "Ideas are bulletproof."

Who should read this book? It's obvious: Anyone who's interested in large ideas, dramatically expressed.

'V for Vendetta' is also an ideal book for teenage slackers --- if you know of a smart kid with a bad attitude and a disdain for adult authority, you will do him/her a big favor with the gift of this paperback. Yeah, there's some sex. There's worse on network TV. But I can't think of another book that packs as many bright ideas and sharp speeches in the context of a thriller. And in a comic, yet.

'V for Vendetta' is an amazing, one-of-a-kind reading experience.

I normally don't read fiction but I got to see the last half of the film with Natalie Portman as Evey Hammond and Hugo Weaving as the mysterious V figure who puts on a Guy Fawkes mask and seeks to save England from the New Order.

The book reminds me of George Orwell's novel, 1984, and in fact, John Hurt CBE who played Winston in the 1984 film version surfaces here as one of the country's leaders. How ironic is that or was that the purpose of casting him.

The book is an easy to read and a page-turner as well. You are wondering what is going to happen next and to whom. I do have some issues about V's character as to why we really don't know much about him. The book makes some revelations along the way to help explain his background without it being overdone.

Evey's character brilliantly played by Natalie Portman in the film is one of those borderline characters in the post-reclamation or revolutionary period in British history after the Queen is gone and the World Order takes shape in their own country. She starts off suspicious and aware of some of the lies fed by her government while working at a government television network.

One night, she meets V under terrible circumstances. He rescues her from being raped and maybe killed by the fingermen, government's dangerous law enforcers. V brings her to his home in the underground. They bond more like teacher and student or father and daughter than as lovers. Evey is old enough to be his daughter anyway. V is mysterious and loves the film, "The Count of Monte Cristo," and loves growing Violet Carson OBE roses.

If you don't know who Violet Carson OBE was, she was one of the Britain's best known actresses from television. She played busybody Ena Sharpes for years on Coronation Street. They named a rose after her.

Well, the book is a page-turner and I'm not usually reading fictional works but the movie got me interested by accident. I saw it on a flight to London.

V for Vendetta is the story of one man's fight to right atrocities that were brought down on a future society that is held captive by a corrupt government. V, the masked avenger, was tortured and held prisoner for years, before an explosion and fire set him free. Hiding his scars behind a mask and gloves, he sets out to kill those involved in the mass genocide in his country. One by one, people begin to die.

And caught in the middle is Evey, a young woman who is rescued by V, then whisked away to his secret underground lair. She is both terrified and fascinated by the man in the mask, by his plight and firm convictions that those who committed crimes against humanity must die. And when he tells her of his plan to literally bring down the ruling government, she promises to meet him one last time, right before his explosive event.

The story ends the only way it can, with fireworks and explosions and death. Part Zorro, part Phantom of the Opera, V is the heroe we all wish to be. This sensational story sends a message about freedom and love. Freedom fighters unite! V for Vendetta is a blast!

~ Cheryl Kaye Tardif
Author of Divine Intervention

V for Vendetta should serve as a grim warning to people. When we give up our freedom for more protection, we must be careful about what it is exactly that we give up. After all, after giving up one liberty, it only becomes easier to give up the next one to feel more protected. In the London depicted in the book, people have given up nearly every liberty. Surveillance cameras moniter people's every move, curfews dictate when people can move around the city, and quarrantine zones dictate where people can go. There are food rations across the country. Relocation camps were set up to remove blacks, gays, socialists, and non-Christians from society, all in the name of protection. And radio and television broadcasts are all controlled by the government, assuring that only pro-government propaganda can reach the masses (even entertainment is used for propaganda; just look at the Storm Saxon movies).

All of these protections are due to a worldwide nuclear war that ravaged nearly every country on Earth. Billions of people died, the weather was forever altered, and most of the world's food supply was wiped out (hence the rationing). There was chaos. So a ruling party took over in England to end the chaos and restore order. Only they did it too well. Citizens are prisoners to protection, and most of them don't mind.

Except V. V is a terrorist who employs trickery and deception in order to carry out his agenda. Though he once believed in justice, now all he cares about is anarchy, and he begins blowing up buildings and undermining the government in order to get the people to rule themselves. One night, he helps a young woman named Evey Hammond who was going to be raped and killed by secret police, and the two form a kind of alliance.

The strange thing about this book is that there is no real "good guy". Yes, the government is corrupt and facist, but V is a terrorist in pursuit of anarchy. Some of the things he does are atrocious. The question readers have to ask is who they would support if given the choice between corrupt facism and violent anarchy.

Overall, this is a great story. The art was fair, and caused me to get some characters confused, but that shouldn't prevent you from reading this book, which is seen as one of the best graphic novels in history.

This story shows England in 1996 (it was the future in 1987, when this was writter) and how it has become a fascist and over-bearing society that is teeming w/ corruption, greed and misery. The whole of England is controlled by the leader who has equipped the streets and homes w/ microphones, video cameras in order to spy on its citizens. But all this is disrupted by a man who wears a mask w/ a large smile (see cover). Gradually throghout the story we see his origin (he was put in a concentration camp w/ the Gays, the Jews and the African-Americans and experimented upon). We also see the emergence of other chracters w/ a variety of motives and personalities who add to the story. It is close to the Watchmen story (also by Alan Moore) but it draws more closely to 1984 by Geroge Orwell. It is sorta depressing and the end and the novel ends w/ a very great mystery not being revealed.

Wow.
That is the only word you can think of when trying to describe Alan Moore's V for Vendetta.
I don't mean Wow as in "Wow, that's so cool" or "Wow, look at that!". More like an amazed "Wow...", the kind of Wow one will utter when seeing something neither joyful nor sad, but simply amazing. Something like Alan Moore's and David Lloyd's
V for Vendetta.
This extraordinary epic tells us the tale of a masked avenger, a frightened little girl, a fascist state where control of citizens is total and the people in charge unforgiving.
I am not going to tell you the story of the book, not even a little bit of it, because doing that would take away some of the fun in reading it.
All I am going to tell you is that this book isn't like usual comic books. This book doesn't try to add as much fighting to the story as possible just for the sake of it. This book is great because it has an interesting story and great art work. The art is the kind of art that is realistic but still special. This is a book that everyone should read.
(By the way, if you own a copy of Tori Amos' CD "Strange little girls" I really recommend listenong to the last song, "Real men", when you read V for Vendetta. Believe me, it's really fitting.)

and the movie was great! What makes the graphic novel better is the depth of the characters. The Leader is not the snarling sociopath as portrayed by John Hurt in the movie. Instead, he is an intelligent, thoughtful man who really believes he is doing the best for his country. There are whole characters and storylines that didn't make it into the movie. I don't blame the moviemakers--they had to edit somewhere--but their addition makes the book richer and more complex. Enjoy the movie by all means, but do read the book for a greater understanding of both V and the world he is trying to change. I will say that the two most affecting parts of the movie--the story of Valerie and the confession of the doctor--are taken almost verbatim from the book. So read the book AND see the movie. They are both well worth your time.

A stones throw from the concept of the movie, which seemed to be Democracy vs. Fascism, this book read quite a bit better than the movie played. The movie was truly a good movie, so then it must follow that this book is an excellent book.

V, in the book, held all the same qualities that he did in the movie, but he was fleshed out a little more here. Evey was also not quite the innocent she was portrayed as in the movie, which gave you a better sense of who she was as well. The comic series was ten books and the movie couldn't really give you all that the book did, so they changed a few of the plot items and removed some of the personnel and gave you (too many) condensed versions of scenes that needed elaboration but still did a good job of conveying what Alan Moore had put down on the paper with the help of David Lloyd.

In my opinion, the biggest change from the book to the movie was the aforementioned Anarchy Vs. Fascism (book) and Democracy Vs. Fascism (movie) and the endings of each, which gave you the truth of that statement. Read the book, watch the movie, neither are disappointing, only different.

SPOILERS INCLUDED

*

I can thank Alan Moore for writing this graphic novel classic because it gave us the movie, which I consider better than the book. (I realize that is heresy to true fans.) Alan Moore is a highly-talented writer who creates a dark, fascinating story world with compelling characters, but I did not enjoy this book.

In the book, V’s infatuation with anarchy really annoys me. That's because I find any obsession with anarchy to be juvenile, naive, and angsty.

V attempts to overthrow a corrupt, totalitarian regime and puts...nothing in its place. He claims that the people should have the right to make their own choices, so he creates chaos and anarchy. He makes a clean slate.

But the last time England had a clean slate, they chose a totalitarian government. So they exercised their choice...didn’t they?

Oh. But V didn't like their choice last time. So he punched the reset button. And he left them with nothing—he just created another vacuum.

...and we’re to expect a different outcome this time? Is V going to help with the glorious new future? No, he's dead. He did leave Evey in his place though. That's good...right? Maybe?

Presumably, Evey is supposed to help with the rebuilding now that she’s taken over V’s identity as...er, V.

Other things that annoyed me:
a) Lots and lots of nudity. Lots. Didn’t want to see that.
2) V is a very well written character, but his “Wait and see...the answers will come...it will all be revealed” probably irritated me just as much as it annoyed Evey.
d) The ending was unsatisfactory. Why did V let himself get shot by Finch?
(I did receive a very good explanation for this from my friend Sam, who said that V understood that his purpose was fulfilled, since he was a killer and the time for killing had ended. As the new V, Evey’s role was to rebuild.)

I hope Evey will have less of an obsession with anarchy.

On the positive side, there is a particularly good scene in which V roleplays with a statue of Lady Justice. V tells Justice that she has betrayed him (because she allowed the totalitarian regime to masquerade as justice). He adds that he has taken a new mistress: anarchy. Then V blows up the statue of Lady Justice. Ha ha! How do you like THAT breakup?

Final thought: if my country is in peril and I need a hero to lead my people into the bright uplands of freedom, I'll take the Founding Fathers over V any day.

One of the most chilling phrases of the last hundred years is, "It couldn't happen here." Which essentially makes the terrifying future portrayed by V For Vendetta all the more possible.
V For Vendetta is set in Britain a decade after a limited nuclear conflict, which thanks to the Labour party removing American missiles from British soil ensures that Britain is not targetted. However the climatic conditions caused by the war end up plunging England into famine and chaos. One party promises an end to anarchy and a return to order, 'Norsefire'.
They are supported by desperate citizens. After they gain power they round up all the blacks, all the asians and gays, all the beatniks and radicals... and kill them. For their belief is in a unified uniformity. Orders are given and followed, no deviations, with a little (very little) bread and circuses thrown in for measure. The horrible absence of any faces other than white faces and the eradication of all culture seen as unfit really shocked me. Moore has always been concerned about Britain's tabloid press and its undercurrant of racism and 'moral values'. It is a concern I share. At a time when hatred for asylum seekers is being whipped up to new extremes by the far right press this is a timely warning.
In this nightmare Britain about four years after the 'final soloution' a terrorist begins to wreak havoc in London. He wears a Guy Fawkes mask and calls himself 'V'. He is after blood. Who is he, or more importantly, what is he? V begins a struggle for the heart and mind of England, a heart and mind that have become complacent and corrupted under the horrible 'better the devil you know' complacency that we are sadly famous for. It is however ordinary people who will decide this conflict, he has just to show us the way.
This is one of the most chilling and enthralling books I have ever read. One of the biggest points of the book is that most people don't want to be evil, but they will go along with it if it leads to a quiet life. This view is hammered home relentlessly. It also incredibly manages to be a ripping yarn at the same time. The look and style of a future Britian under a totalitarian dictatorship is wonderfully rendered by David Lloyd who draws everything in a wonderful gritty, harsh, sleezy style. This is arguably Moore's greatest work, it is certainly his most vicious and pointed. An important thing to take into account though is that Moore was primarily directing this at English audiences, the comic only got an American distribution later. As such there may be several cultural characteristics that may cause to the unfamiliar reader several vicious points to fall short. No matter, this book was intended to show Britian how it could happen here, and by implication how it could happen anywhere. Do not be complacent. England prevails!

All I want to add to the torrent of reviews already out on this--and well before the movie comes out--is that, if like me you're a fan of Orwellian dystopia, thoughtful considerations of personal responsibility within the context of a police state and those who allow such a situation to control them, and a challenging plotline, this is superb edification as well as cracking good entertainment. Moore & Lloyd stretch again the ability of their genre to deliver multiple storylines, overlapping or simultaneous (or as close you can get to this in print) voices, narrative, and/or soundtracks, and quickly edited scenes makes this a satisfying visual and auditory experience. Characterizations are also fleshed out well; as the afterword's notes comment, even the baddies gain recognizable features that we share with them, and nobody's a caricature, although many people's poses are satirized deftly. My favorite section, the set-piece of Valerie that centers the whole triptych, was astonishingly intricate.

This work takes considerable mental concentration; the hours flew by as I read, and I found myself engrossed, by the combination of visuals and print, in a way that combined the best of film and literature. I commend Moore and Lloyd for their diligence, intelligence, and craft. Macbeth, the Stones, Blake, Crowley, Martha & the Vandellas: all this and more pack the intertextual references with even more layers of sophistication. A fine work indeed, and one also that can be valuable for teenagers as well as those of us who read "1984" in our formative years. My son borrowed this from his classmate and urged me to read it. I'm glad I did. And, for the present generation, this take on Orwell's vision of "a boot crushing a face, forever" is considerably faster-paced and bolder in its near-familiarity.

What happens when a brutal and repressive government creates its own nemesis, then hides the evidence? What if that nemesis learns and exploits each and every weakness of the rulers, at whatever personal cost?
"V" is one person, but this is really about the "impossibile" things that each and all of us can do, if we refuse to give up that last vital inch of our will.
This is nearly a perfect work, and still remains fresh and vital, even though the inherent timeline is a bit obsolete. The art, the words, even seemingly small things like the absence of sound effect words... each image and phrase is precise and essential, and the story unfolds with the inevitability of falling dominoes (a central image in the story).
I think that "V for Vendetta" is particularly relevant right now, although the subject matter is a little difficult for these days- the main character is (by the definition of the facist government in the book) a terrorist, and he blows up a couple of buildings amongst other things... However, it is (in part) a magnificent cautionary tale about what happens to a society where people are too willing to sacrifice civil liberties for safety... the details are British, but the story is eternal.
Read it- and think.

V for Vendetta, as said in the summary, is set in the dystopian future Britain in the late 1990s after the Great War (World War II or the Cold War?). When bombings outside London leave England in both civil and political disarray, the people turn to the radical leadership of the Party.A few years later, we meet a sixteen year old named Evie who after a near death experience is saved by the terrorists simply known as V. Referred to as codename V by the government leaders, V takes Evie into his home and under his wing.

I'm not going any further than that in the more detailed summary so people who haven't read the book can still read this review.

I had watched the movie (of the same title) with Natlie Portman before reading the book. After finding out it was a book I ordered it on the store. Imagine my surprise when I get it in the mail and find out it's a graphic novel. Long story short, this graphic novel is one of...if not the BEST I have ever read.

Having watched the movie and read the novel, there are MANY differences. The graphic novel has far more plot twists and unexpected turns. Although I personally preferred the evolution and maturity of Evie better in the movie, the graphic novel greatly highlights her innocence.

I'm not the biggest fan of how Lloyd drew Evie at the end of the novel. But all in all, still one of the BEST. I could read this book over and over. Once you start you can't stop reading.

This graphic novel is good for fans of the movie and those who have not had the opportunity to see it. The illustrations are good, presenting the world of totalitarian England as bleak, dark, and dirty. Our hero V looks good, the mask, hat, cloak, and acrobatics are all captured well. The story is better than it was as seen in the movie, with more plot points that add more depth to V as a character but also to the world that he inhabits and influences.

The only real complaint I can make is that sometimes the dark illustrations make it hard to tell who is who. Obviously this is not the case with V or Evey, as they look very distinct from the rest of the character line-up, but this can be a problem for all the white, dark haired, middle-aged males in the story. This could very well be my fault, perhaps a side-effect of poor concentration, but I think this is less likely. I've read plenty of comics before, and never had this problem. The uncommon denominator here is how many physically homogeneous characters there are in dark environments, and causes problems. More than just not being able to identify who is who at first, it can ruin the emotional impact a scene is supposed to have, because the attachments and opinions I have to certain characters in a scene are lost because I don't recognize them.

That said, this is still a really good book, and I recommend buying it. Just a note, the paperback's cover has a more chalky look to it, and V's mask is a brighter white compared to the hardcover, where it looks less chalky and it's not quite as white all around. Just something to consider when you're making a purchase.

Don't let the medium fool you. What may look like a comic book ( or "Graphic novel" to give it the oh-so-pretentious moniker that collections of comic books gained in the 1980's ) is actually one of the finest novels to come out of the 1980's. It is at once a retro-futuristic thriller, an alternate history of England in the 1990's, an homage to the likes of Orwell, Huxley and Guy Fawkes and a story of personal liberation ( and the inherent responsibilities that come with it ). The more eagle-eyed amongst you will recognise deft acknowledgements to the likes of Arthur Koestler, The Rolling Stones, The Stockholm Syndrome and even the enigmatic 60's television series, "The Prisoner". The "Valeries Letter" sequence alone is worth the price of purchase. England Prevails, as do Alan Moore and David Lloyd.

At at time when war has caused problems for much of the world, the English have elected leadership from a far right religious part. Bad mistake.

This group takes over and moves quickly to totalitarianism, deciding that Orwell's Big Brother is a pretty good plan. Anyone different is rounded up, and dissenters are disappeared.

One of their experiments has gone slightly wrong, and a man is now in a position to do something about it, especially with the superhuman talents he now possesses.

The main focus is on the responsibilities of government to the people, and the people's responsibility to eliminate their bad governments through violence, is necessary. When does anarchy become revolution, and how far do you go to gain allies and aid in the process.

A seminal and powerful manifesto delivered in rarest of forms, V for Vendetta is the sequential storytelling equivalent to French Filmaking giving reading audiences what they always wanted and what they deserve... a dose of candid realism and magical realism woven into a complex tapestry exploring such themes as politics, the human condition, domino effect, and synchronicity. This virtuous dystopian tale is filled with inner and outer metaphysical wisdom, stabbing at the heart and dark underbelly of our sheepish and malcontent lives. Read and re-read again and again and its philosophy will root itself organically into the fabric of your soul... if you're willing.

Being a huge fan of the film adaptation, I felt more than obligated to pick up the work the film is based on. If the film was a boom, the graphic novel is a crescendo. The novel depicts an even more abhorrent government and a much more politically indoctrinated V. Moore brilliantly creates a post-apocalyptic world of opposing ideals and turmoil. The ardent anarchist that is V dosent just represent a one man mission of revenge but a true vision to create the "land of do-as-you please." I can say with out a doubt Alan Moore and David Lloyd have made a true masterpiece that serves not just as entertainment but doubles as a stark warning to the thereat expanding government power in the name of security. Simply brilliant!

Everybody already knows (or SHOULD) how great Alan Moore is, so I won't carry on about that.
V For Vendetta is a gorgeous Orwellian piece. It's harsh, cryptic, witty, and...well, should probably be studied in schools to accompany '1984'.
It's always kind of embarrassing when you get asked what you read, and you try to explain that not all comic books involve words like "Blammo!" and "Zock!" and big-breasted women with silly names. If anyone you know ever doubts the integrity of the comic book/graphic novel genres - my advice is buy them a copy of both 'V' and 'Watchmen'. They'll come crawling back eating their words.
To the average American audience (who generally won't have a clue about anything that isn't all Yanked up) do be aware that Alan Moore is about as British as they come, and his prose is reflective of this in a major way. Most people don't realise that V sports a Guy Fawkes mask - they don't know who Fawkes even was. If you don't get the humour or the references, you probably never will gain a full understanding of either.
This isn't your average guy-in-tights-saves-hot-chick book. It's dark, it philosophizes, it'll probably make you think about what's going on in the world. Therefore, it's not for everyone.
'V For Vendetta' is strictly for discerning readers, and may even bridge the gap for some between the worlds of plain books and comics. We can only hope. And remember...
England Prevails!

I normally don't read fiction but I got to see the last half of the film with Natalie Portman as Evey Hammond and Hugo Weaving as the mysterious V figure who puts on a Guy Fawkes mask and seeks to save England from the New Order.

The book reminds me of George Orwell's novel, 1984, and in fact, John Hurt CBE who played Winston in the 1984 film version surfaces here as one of the country's leaders. How ironic is that or was that the purpose of casting him.

The book is an easy to read and a page-turner as well. You are wondering what is going to happen next and to whom. I do have some issues about V's character as to why we really don't know much about him. The book makes some revelations along the way to help explain his background without it being overdone.

Evey's character brilliantly played by Natalie Portman in the film is one of those borderline characters in the post-reclamation or revolutionary period in British history after the Queen is gone and the World Order takes shape in their own country. She starts off suspicious and aware of some of the lies fed by her government while working at a government television network.

One night, she meets V under terrible circumstances. He rescues her from being raped and maybe killed by the fingermen, government's dangerous law enforcers. V brings her to his home in the underground. They bond more like teacher and student or father and daughter than as lovers. Evey is old enough to be his daughter anyway. V is mysterious and loves the film, "The Count of Monte Cristo," and loves growing Violet Carson OBE roses.

If you don't know who Violet Carson OBE was, she was one of the Britain's best known actresses from television. She played busybody Ena Sharpes for years on Coronation Street. They named a rose after her.

Well, the book is a page-turner and I'm not usually reading fictional works but the movie got me interested by accident. I saw it on a flight to London.

V for Vendetta is the story of one man's fight to right atrocities that were brought down on a future society that is held captive by a corrupt government. V, the masked avenger, was tortured and held prisoner for years, before an explosion and fire set him free. Hiding his scars behind a mask and gloves, he sets out to kill those involved in the mass genocide in his country. One by one, people begin to die.

And caught in the middle is Evey, a young woman who is rescued by V, then whisked away to his secret underground lair. She is both terrified and fascinated by the man in the mask, by his plight and firm convictions that those who committed crimes against humanity must die. And when he tells her of his plan to literally bring down the ruling government, she promises to meet him one last time, right before his explosive event.

The story ends the only way it can, with fireworks and explosions and death. Part Zorro, part Phantom of the Opera, V is the heroe we all wish to be. This sensational story sends a message about freedom and love. Freedom fighters unite! V for Vendetta is a blast!

~ Cheryl Kaye Tardif
Author of Divine Intervention

V for Vendetta should serve as a grim warning to people. When we give up our freedom for more protection, we must be careful about what it is exactly that we give up. After all, after giving up one liberty, it only becomes easier to give up the next one to feel more protected. In the London depicted in the book, people have given up nearly every liberty. Surveillance cameras moniter people's every move, curfews dictate when people can move around the city, and quarrantine zones dictate where people can go. There are food rations across the country. Relocation camps were set up to remove blacks, gays, socialists, and non-Christians from society, all in the name of protection. And radio and television broadcasts are all controlled by the government, assuring that only pro-government propaganda can reach the masses (even entertainment is used for propaganda; just look at the Storm Saxon movies).

All of these protections are due to a worldwide nuclear war that ravaged nearly every country on Earth. Billions of people died, the weather was forever altered, and most of the world's food supply was wiped out (hence the rationing). There was chaos. So a ruling party took over in England to end the chaos and restore order. Only they did it too well. Citizens are prisoners to protection, and most of them don't mind.

Except V. V is a terrorist who employs trickery and deception in order to carry out his agenda. Though he once believed in justice, now all he cares about is anarchy, and he begins blowing up buildings and undermining the government in order to get the people to rule themselves. One night, he helps a young woman named Evey Hammond who was going to be raped and killed by secret police, and the two form a kind of alliance.

The strange thing about this book is that there is no real "good guy". Yes, the government is corrupt and facist, but V is a terrorist in pursuit of anarchy. Some of the things he does are atrocious. The question readers have to ask is who they would support if given the choice between corrupt facism and violent anarchy.

Overall, this is a great story. The art was fair, and caused me to get some characters confused, but that shouldn't prevent you from reading this book, which is seen as one of the best graphic novels in history.

This story shows England in 1996 (it was the future in 1987, when this was writter) and how it has become a fascist and over-bearing society that is teeming w/ corruption, greed and misery. The whole of England is controlled by the leader who has equipped the streets and homes w/ microphones, video cameras in order to spy on its citizens. But all this is disrupted by a man who wears a mask w/ a large smile (see cover). Gradually throghout the story we see his origin (he was put in a concentration camp w/ the Gays, the Jews and the African-Americans and experimented upon). We also see the emergence of other chracters w/ a variety of motives and personalities who add to the story. It is close to the Watchmen story (also by Alan Moore) but it draws more closely to 1984 by Geroge Orwell. It is sorta depressing and the end and the novel ends w/ a very great mystery not being revealed.

Wow.
That is the only word you can think of when trying to describe Alan Moore's V for Vendetta.
I don't mean Wow as in "Wow, that's so cool" or "Wow, look at that!". More like an amazed "Wow...", the kind of Wow one will utter when seeing something neither joyful nor sad, but simply amazing. Something like Alan Moore's and David Lloyd's
V for Vendetta.
This extraordinary epic tells us the tale of a masked avenger, a frightened little girl, a fascist state where control of citizens is total and the people in charge unforgiving.
I am not going to tell you the story of the book, not even a little bit of it, because doing that would take away some of the fun in reading it.
All I am going to tell you is that this book isn't like usual comic books. This book doesn't try to add as much fighting to the story as possible just for the sake of it. This book is great because it has an interesting story and great art work. The art is the kind of art that is realistic but still special. This is a book that everyone should read.
(By the way, if you own a copy of Tori Amos' CD "Strange little girls" I really recommend listenong to the last song, "Real men", when you read V for Vendetta. Believe me, it's really fitting.)

and the movie was great! What makes the graphic novel better is the depth of the characters. The Leader is not the snarling sociopath as portrayed by John Hurt in the movie. Instead, he is an intelligent, thoughtful man who really believes he is doing the best for his country. There are whole characters and storylines that didn't make it into the movie. I don't blame the moviemakers--they had to edit somewhere--but their addition makes the book richer and more complex. Enjoy the movie by all means, but do read the book for a greater understanding of both V and the world he is trying to change. I will say that the two most affecting parts of the movie--the story of Valerie and the confession of the doctor--are taken almost verbatim from the book. So read the book AND see the movie. They are both well worth your time.

A stones throw from the concept of the movie, which seemed to be Democracy vs. Fascism, this book read quite a bit better than the movie played. The movie was truly a good movie, so then it must follow that this book is an excellent book.

V, in the book, held all the same qualities that he did in the movie, but he was fleshed out a little more here. Evey was also not quite the innocent she was portrayed as in the movie, which gave you a better sense of who she was as well. The comic series was ten books and the movie couldn't really give you all that the book did, so they changed a few of the plot items and removed some of the personnel and gave you (too many) condensed versions of scenes that needed elaboration but still did a good job of conveying what Alan Moore had put down on the paper with the help of David Lloyd.

In my opinion, the biggest change from the book to the movie was the aforementioned Anarchy Vs. Fascism (book) and Democracy Vs. Fascism (movie) and the endings of each, which gave you the truth of that statement. Read the book, watch the movie, neither are disappointing, only different.

SPOILERS INCLUDED

*

I can thank Alan Moore for writing this graphic novel classic because it gave us the movie, which I consider better than the book. (I realize that is heresy to true fans.) Alan Moore is a highly-talented writer who creates a dark, fascinating story world with compelling characters, but I did not enjoy this book.

In the book, V’s infatuation with anarchy really annoys me. That's because I find any obsession with anarchy to be juvenile, naive, and angsty.

V attempts to overthrow a corrupt, totalitarian regime and puts...nothing in its place. He claims that the people should have the right to make their own choices, so he creates chaos and anarchy. He makes a clean slate.

But the last time England had a clean slate, they chose a totalitarian government. So they exercised their choice...didn’t they?

Oh. But V didn't like their choice last time. So he punched the reset button. And he left them with nothing—he just created another vacuum.

...and we’re to expect a different outcome this time? Is V going to help with the glorious new future? No, he's dead. He did leave Evey in his place though. That's good...right? Maybe?

Presumably, Evey is supposed to help with the rebuilding now that she’s taken over V’s identity as...er, V.

Other things that annoyed me:
a) Lots and lots of nudity. Lots. Didn’t want to see that.
2) V is a very well written character, but his “Wait and see...the answers will come...it will all be revealed” probably irritated me just as much as it annoyed Evey.
d) The ending was unsatisfactory. Why did V let himself get shot by Finch?
(I did receive a very good explanation for this from my friend Sam, who said that V understood that his purpose was fulfilled, since he was a killer and the time for killing had ended. As the new V, Evey’s role was to rebuild.)

I hope Evey will have less of an obsession with anarchy.

On the positive side, there is a particularly good scene in which V roleplays with a statue of Lady Justice. V tells Justice that she has betrayed him (because she allowed the totalitarian regime to masquerade as justice). He adds that he has taken a new mistress: anarchy. Then V blows up the statue of Lady Justice. Ha ha! How do you like THAT breakup?

Final thought: if my country is in peril and I need a hero to lead my people into the bright uplands of freedom, I'll take the Founding Fathers over V any day.

One of the most chilling phrases of the last hundred years is, "It couldn't happen here." Which essentially makes the terrifying future portrayed by V For Vendetta all the more possible.
V For Vendetta is set in Britain a decade after a limited nuclear conflict, which thanks to the Labour party removing American missiles from British soil ensures that Britain is not targetted. However the climatic conditions caused by the war end up plunging England into famine and chaos. One party promises an end to anarchy and a return to order, 'Norsefire'.
They are supported by desperate citizens. After they gain power they round up all the blacks, all the asians and gays, all the beatniks and radicals... and kill them. For their belief is in a unified uniformity. Orders are given and followed, no deviations, with a little (very little) bread and circuses thrown in for measure. The horrible absence of any faces other than white faces and the eradication of all culture seen as unfit really shocked me. Moore has always been concerned about Britain's tabloid press and its undercurrant of racism and 'moral values'. It is a concern I share. At a time when hatred for asylum seekers is being whipped up to new extremes by the far right press this is a timely warning.
In this nightmare Britain about four years after the 'final soloution' a terrorist begins to wreak havoc in London. He wears a Guy Fawkes mask and calls himself 'V'. He is after blood. Who is he, or more importantly, what is he? V begins a struggle for the heart and mind of England, a heart and mind that have become complacent and corrupted under the horrible 'better the devil you know' complacency that we are sadly famous for. It is however ordinary people who will decide this conflict, he has just to show us the way.
This is one of the most chilling and enthralling books I have ever read. One of the biggest points of the book is that most people don't want to be evil, but they will go along with it if it leads to a quiet life. This view is hammered home relentlessly. It also incredibly manages to be a ripping yarn at the same time. The look and style of a future Britian under a totalitarian dictatorship is wonderfully rendered by David Lloyd who draws everything in a wonderful gritty, harsh, sleezy style. This is arguably Moore's greatest work, it is certainly his most vicious and pointed. An important thing to take into account though is that Moore was primarily directing this at English audiences, the comic only got an American distribution later. As such there may be several cultural characteristics that may cause to the unfamiliar reader several vicious points to fall short. No matter, this book was intended to show Britian how it could happen here, and by implication how it could happen anywhere. Do not be complacent. England prevails!

All I want to add to the torrent of reviews already out on this--and well before the movie comes out--is that, if like me you're a fan of Orwellian dystopia, thoughtful considerations of personal responsibility within the context of a police state and those who allow such a situation to control them, and a challenging plotline, this is superb edification as well as cracking good entertainment. Moore & Lloyd stretch again the ability of their genre to deliver multiple storylines, overlapping or simultaneous (or as close you can get to this in print) voices, narrative, and/or soundtracks, and quickly edited scenes makes this a satisfying visual and auditory experience. Characterizations are also fleshed out well; as the afterword's notes comment, even the baddies gain recognizable features that we share with them, and nobody's a caricature, although many people's poses are satirized deftly. My favorite section, the set-piece of Valerie that centers the whole triptych, was astonishingly intricate.

This work takes considerable mental concentration; the hours flew by as I read, and I found myself engrossed, by the combination of visuals and print, in a way that combined the best of film and literature. I commend Moore and Lloyd for their diligence, intelligence, and craft. Macbeth, the Stones, Blake, Crowley, Martha & the Vandellas: all this and more pack the intertextual references with even more layers of sophistication. A fine work indeed, and one also that can be valuable for teenagers as well as those of us who read "1984" in our formative years. My son borrowed this from his classmate and urged me to read it. I'm glad I did. And, for the present generation, this take on Orwell's vision of "a boot crushing a face, forever" is considerably faster-paced and bolder in its near-familiarity.

What happens when a brutal and repressive government creates its own nemesis, then hides the evidence? What if that nemesis learns and exploits each and every weakness of the rulers, at whatever personal cost?
"V" is one person, but this is really about the "impossibile" things that each and all of us can do, if we refuse to give up that last vital inch of our will.
This is nearly a perfect work, and still remains fresh and vital, even though the inherent timeline is a bit obsolete. The art, the words, even seemingly small things like the absence of sound effect words... each image and phrase is precise and essential, and the story unfolds with the inevitability of falling dominoes (a central image in the story).
I think that "V for Vendetta" is particularly relevant right now, although the subject matter is a little difficult for these days- the main character is (by the definition of the facist government in the book) a terrorist, and he blows up a couple of buildings amongst other things... However, it is (in part) a magnificent cautionary tale about what happens to a society where people are too willing to sacrifice civil liberties for safety... the details are British, but the story is eternal.
Read it- and think.

V for Vendetta, as said in the summary, is set in the dystopian future Britain in the late 1990s after the Great War (World War II or the Cold War?). When bombings outside London leave England in both civil and political disarray, the people turn to the radical leadership of the Party.A few years later, we meet a sixteen year old named Evie who after a near death experience is saved by the terrorists simply known as V. Referred to as codename V by the government leaders, V takes Evie into his home and under his wing.

I'm not going any further than that in the more detailed summary so people who haven't read the book can still read this review.

I had watched the movie (of the same title) with Natlie Portman before reading the book. After finding out it was a book I ordered it on the store. Imagine my surprise when I get it in the mail and find out it's a graphic novel. Long story short, this graphic novel is one of...if not the BEST I have ever read.

Having watched the movie and read the novel, there are MANY differences. The graphic novel has far more plot twists and unexpected turns. Although I personally preferred the evolution and maturity of Evie better in the movie, the graphic novel greatly highlights her innocence.

I'm not the biggest fan of how Lloyd drew Evie at the end of the novel. But all in all, still one of the BEST. I could read this book over and over. Once you start you can't stop reading.

This graphic novel is good for fans of the movie and those who have not had the opportunity to see it. The illustrations are good, presenting the world of totalitarian England as bleak, dark, and dirty. Our hero V looks good, the mask, hat, cloak, and acrobatics are all captured well. The story is better than it was as seen in the movie, with more plot points that add more depth to V as a character but also to the world that he inhabits and influences.

The only real complaint I can make is that sometimes the dark illustrations make it hard to tell who is who. Obviously this is not the case with V or Evey, as they look very distinct from the rest of the character line-up, but this can be a problem for all the white, dark haired, middle-aged males in the story. This could very well be my fault, perhaps a side-effect of poor concentration, but I think this is less likely. I've read plenty of comics before, and never had this problem. The uncommon denominator here is how many physically homogeneous characters there are in dark environments, and causes problems. More than just not being able to identify who is who at first, it can ruin the emotional impact a scene is supposed to have, because the attachments and opinions I have to certain characters in a scene are lost because I don't recognize them.

That said, this is still a really good book, and I recommend buying it. Just a note, the paperback's cover has a more chalky look to it, and V's mask is a brighter white compared to the hardcover, where it looks less chalky and it's not quite as white all around. Just something to consider when you're making a purchase.

Don't let the medium fool you. What may look like a comic book ( or "Graphic novel" to give it the oh-so-pretentious moniker that collections of comic books gained in the 1980's ) is actually one of the finest novels to come out of the 1980's. It is at once a retro-futuristic thriller, an alternate history of England in the 1990's, an homage to the likes of Orwell, Huxley and Guy Fawkes and a story of personal liberation ( and the inherent responsibilities that come with it ). The more eagle-eyed amongst you will recognise deft acknowledgements to the likes of Arthur Koestler, The Rolling Stones, The Stockholm Syndrome and even the enigmatic 60's television series, "The Prisoner". The "Valeries Letter" sequence alone is worth the price of purchase. England Prevails, as do Alan Moore and David Lloyd.

At at time when war has caused problems for much of the world, the English have elected leadership from a far right religious part. Bad mistake.

This group takes over and moves quickly to totalitarianism, deciding that Orwell's Big Brother is a pretty good plan. Anyone different is rounded up, and dissenters are disappeared.

One of their experiments has gone slightly wrong, and a man is now in a position to do something about it, especially with the superhuman talents he now possesses.

The main focus is on the responsibilities of government to the people, and the people's responsibility to eliminate their bad governments through violence, is necessary. When does anarchy become revolution, and how far do you go to gain allies and aid in the process.

A seminal and powerful manifesto delivered in rarest of forms, V for Vendetta is the sequential storytelling equivalent to French Filmaking giving reading audiences what they always wanted and what they deserve... a dose of candid realism and magical realism woven into a complex tapestry exploring such themes as politics, the human condition, domino effect, and synchronicity. This virtuous dystopian tale is filled with inner and outer metaphysical wisdom, stabbing at the heart and dark underbelly of our sheepish and malcontent lives. Read and re-read again and again and its philosophy will root itself organically into the fabric of your soul... if you're willing.

Being a huge fan of the film adaptation, I felt more than obligated to pick up the work the film is based on. If the film was a boom, the graphic novel is a crescendo. The novel depicts an even more abhorrent government and a much more politically indoctrinated V. Moore brilliantly creates a post-apocalyptic world of opposing ideals and turmoil. The ardent anarchist that is V dosent just represent a one man mission of revenge but a true vision to create the "land of do-as-you please." I can say with out a doubt Alan Moore and David Lloyd have made a true masterpiece that serves not just as entertainment but doubles as a stark warning to the thereat expanding government power in the name of security. Simply brilliant!

Everybody already knows (or SHOULD) how great Alan Moore is, so I won't carry on about that.
V For Vendetta is a gorgeous Orwellian piece. It's harsh, cryptic, witty, and...well, should probably be studied in schools to accompany '1984'.
It's always kind of embarrassing when you get asked what you read, and you try to explain that not all comic books involve words like "Blammo!" and "Zock!" and big-breasted women with silly names. If anyone you know ever doubts the integrity of the comic book/graphic novel genres - my advice is buy them a copy of both 'V' and 'Watchmen'. They'll come crawling back eating their words.
To the average American audience (who generally won't have a clue about anything that isn't all Yanked up) do be aware that Alan Moore is about as British as they come, and his prose is reflective of this in a major way. Most people don't realise that V sports a Guy Fawkes mask - they don't know who Fawkes even was. If you don't get the humour or the references, you probably never will gain a full understanding of either.
This isn't your average guy-in-tights-saves-hot-chick book. It's dark, it philosophizes, it'll probably make you think about what's going on in the world. Therefore, it's not for everyone.
'V For Vendetta' is strictly for discerning readers, and may even bridge the gap for some between the worlds of plain books and comics. We can only hope. And remember...
England Prevails!

V For Vendetta is a groundbreaking masterwork unlike any other. It is brilliant, imaginative, and all around amazing to read. This graphic novel is a truly remarkable experience in itself, and anyone whose up for a good read with a very deep and twisting storyline, along with a governmental and political plot line are in for something great. Also, if your a fan on Alan Moore's "Watchmen", then V For Vendetta is sure to be something you will absolutely adore.

(No Spoilers Ahead, just an outline!)
So we have V, a Guy Fawkes masked anarchist who wants nothing more then to show the people of England how corrupted their government and lives really are, and little by little his plan unfolds, until he meets a woman named Evey Hammond. Now Evey seems like any other women, but Evey shows V something more, she shows V that not all are corrupted and that their is still some good left in the human spirit. Taking Evey into his underground home, codenamed The Shadow Gallery, Evey is not allowed to leave, for the risk of revealing V's location. So when the story is set, V and Evey become entwined, and their destinies are now linked, and they both have one goal together, one thing in mind, to bring down the government and let the people choose their futures, to let anarchy be the way, to let "Do What Thou Wilt" to be the law of the land.

If you did see the film, then you already know some outline, but I will say this, THE BOOK AND MOVIE DIFFER VERY MUCH!!! The book is better of course, but if you saw the movie and expect the book to be the same thing, IT'S NOT! It's much different, and much more intriguing!

All In All, no one should miss out on this classic work of vendetta and retribution against a corrupt government and a world in flames. V For Vendetta is very close to George Orwell's "1984", In the sense of the totalitarian government. So I hope this helps, but if your a fan of something in this genre, then read V For Vendetta, you will not regret it.

P.S. Anyone who has read Watchmen, or V For Vendetta, and has not read both of them, I strongly recommend you do. If you love one, you will love the other. They don't have anything to do with each other, but their among Alan Moore's two best works of all time. I own both graphic novels and I still don't know which one I like more, having read both around 3-4 times each, they are both very good in so many aspects! If you haven't gotten into the world of graphic novels before, now is the time, and these two will definitely make good editions to your book collection!

Sales of V for Vindetta increased dramatically when the movie came out earlier this year. I happened to be one of those guys that wanted to read the graphic novel before I saw the movie. I am so grateful that I did.

The movie is somewhat entertaining and I did enjoy it, but the Wackowski brothers turned the classic story into a Bush bashing movie which upset me greatly. In fact, you can in several places while pausing the movie see signs that say some horrific things about President Bush. Very childish behavior in my opinion but I digress. This is not a review of the movie but of the book in which it is based off.

There is a reason why Alan Moore wanted nothing to do with the movie and didn't want his name anywhere to be seen. The movie completely waters down the beauty of this book. V for Vindetta tells a great story of a futuristic London that has fallen into corrupt government hands, and how one lone person is able to motivate thousands that have been depressed into fighting back for their freedoms and rights.

Very intertaining and highly recommended for any comic book fan. Read it. Think about it, and read it again. V for Vindetta is worth every penny.

Note to parents: This book is not for younger readers but for mature audiences only. Adult situations, adult language, nudity and sex, is throughout this book. Reader Discression is advised.

While all of my friends were getting into comic books I didn't understand the draw. I was never a big Superman, Spider Man, Batman, etc, fan. I especially didn't like superhero groups like the X-Men. Although I did like all of the above mentioned movies...

So one day I went with some friends to the comic book store and I noticed a bunch of comic books, that would later make up the Vertigo line, were very different from what I considered a comic book. The shops owner noticed my disdain for mainstream comic books and my interest in titles like Sandman and Constantine. He asked if I had ever heard of Alan Moore, V for Vendetta or Watchmen.

Of course I hadn't and he took me to the boxes containing a complete run of both. He then suggested I buy and read the first of each run and he would put the others in the set on hold in case I enjoyed them. If I didn't like them I could bring them back for a half price refund. Both of the #1's were priced around 6 bucks. I bit.

Immediately I was taken back by the quality of the story writing, the portrayal of the characters both visually and through literary techniques, and how different this comic book was from what I knew comic books to be. I tried having my superhero fan friends read them and they didn't like them at all. Was it possibly that Alan Moore was writing comic books for intellectuals?

The next day I went back to the store and bought the remaining books from both story lines, plus their graphic novels so I wouldn't damage the comics by reading them. Alan Moore made a comic book fan out of me. I would have to say that the superhero movies I mentioned in the open paragraph took from Moore's vision on story writing when they adapted their screen plays. Gone are the dorky, quirky utterances and also removed are the subplots with no meaning!

If you don't like traditional comic books and/or didn't relate to the movie all that well, try the graphic novel! It is much better than the movie, whereas the traditional superhero movies were much better than the comic books!

having seen the movie when it first came out, I was curious about the book. I am NOT dissapointed. It is one of the most thought provoking things I have read, like 1984 but with more interesting and strong willed people. What really scares me is how I can see some of the aspects of the book happening in this day and age, with a complacent media who care more about ratings, and people who care more about celeb trash than fighting for what is right. As the author says, "this book is for those who do not turn off the news"

I think it is easy to say that Alan Moore is the greatest comic book writer ever (though Frank Miller might be able to give a run for his money). He created the groundbreaking and master of the literary arts, The Watchmen. Moore's other 'big' creation is V for Vendetta, which is definitely influence by Orwell's "1984" among others. It isn't as great as The Watchmen, which should be read by all, but it is high among his great works, though it isn't your typical comic book. There's intrigue, darkness and a whole lot more.

This is the first graphic novel I have read, but after seeing the movies so many times and loving it, I decided I needed to check this graphic novel out! It was such a good read with amazing art! I definitely want to read more by Alan Moore!

For a more in-depth review, check out my book blog, A Nook of Blankets and Books!
[...]

This is a novel of great scope and imagination, with so many layers of plot, metaphor and symbolism to impress even the most jaded literary critic. Never mind that the tale itself is fantastic, detailing one of man's most basic and most ambiguos needs: the need to be "free". But what does it mean to be free? Free from what? The past? The Government? Your parents? The world? Life? Can anyone, even V himself, really give you the answer? Like all great novels, this book refuses to offer an easy solution; even the word of V is suspect, for his methods often parellel used by the authoratative system he so despises. Like the characters of Finch and Evey, we must seek to find the answers ourselves; we must decide what is truly important in our lives, and what we believe "freedom" to mean. Recommended

if you're considering buying this book, know one thing: its not an action story. dont expect high flying machine gun blazing antics from V, a point where Evey picks up a machine gun, yells "for father!" and plows down 50 some odd police officers, or anything else of the sort. the story is a tale of a dystopian Britain, a facist government now facing down an anti-hero, anarchist vigilante named "V". If you enjoy the sort of story with a lot of comparison between two "evils"- facism and anarchy, or the tale of Guy Fawkes, or are a fan of Moore's other work (or George Orwell's 1984), this book will probably suit you well. be warned, however, there are relatively few "action" sequences, and the movie will have to stray far from the book to make it a fall blockbuster action movie.

The original ten part mini-series compiled in this book was completed in 1990, and fortunately, most of Moore's dire predictions about its now outdated setting of 1998 London have not come to pass (like the limited nuclear war that obliterated most of the other world powers). Still, this Orwellian vision of a fundamentalist Christian, anti-Semitic, homophobic, fascist regime may hit frighteningly close to home for many Americans. Its architects could just as easily have been Sean Hannity or Rush Limbaugh, except that Alan Moore offers his readers a cure for the type of social disease spread by these right-wing demagogues.

It is the tale of the mysterious V, who haunts the pages of this book masquerading as the 16th century English folk villain and failed Parliamentary bomber, Guy Fawkes. Using extraordinary physical and mental abilities accidentally gained through experiments performed on him while in a government concentration camp, V almost single-handedly brings the State to its knees. But while most comic books teach a lesson in learned helplessness where humanity can only be saved through the divine intervention of super-powered beings, V constantly places the blame for his nation's troubles on the voters who are so eager to put their lives in the hands of others. V acts as a Robin Hood for the new millennium, redistributing the only wealth of importance in the Information Age: Knowledge is not only power, it is freedom. As people become self-aware, they become self-reliant, and soon they become unwilling to prostrate themselves before the trappings of authority. While this is one of the single greatest works of graphic literature ever, V's battle to free the people from their elected masters may also be the most eloquent, moving, and gripping endorsement of anarchism you will ever encounter in comics or anywhere else.

I loved the movie "V for Vendetta," which I had watched about nine months before I read this book, and, like many other comic book fans, I also greatly enjoyed Moore's Watchmen, so I was really looking forward to finally reading this. The story is about one person who, embodying an idea, attempts to overthrow a Nazi-like British regime, which comes to power during the cold war. It is a very dark tale, and David Lloyd's artwork works well, although I usually prefer more realism in comic book drawing. There are some intricate subplots that do finally come together in the end, but can be confusing until then. The belief that bad governments should fear their people and that things shouldn't be the other way around is definitely a big part of the book. Overall, I really liked the plot but felt like some of the side stories weighed it down a bit. Avid comic book fans will surely enjoy it, but I'd suggest that anyone else just watch the movie, since that version is excellent and captures the best things about "V for Vendetta" without the fluff.

I'll have to admit I was reluctant to give this product less than the full five stars. The concept is brilliant, the main character is unique and instantly likeable, the setting is well thought out, and the execution is clever, if a bit slow. The problem, for me, was the art. I have to admit it was rather unique, with a heavy influence from the more classic DC style. However it's painted in watercolor and the contrast and depth of the color is extremely poor. On top of that, it's printed on cheap pulp paper, which is just puzzling: It's just been turned into a huge movie license by the Wachowski brothers, and even says so on the cover. So why would they print their merchandise, so recently equated to printing money, on the lowest-quality paper available?

Who knows. Not only are the colors poor, the images tend to fade off. Every copy I've seen so far has had pieces of its art and text rubbed out due to the low-quality ink used.

This comic deserves to be called a classic, and as such deserves to be treated like one. This should be in hardcover with glossy paper and good ink, but it's not.

I suggest reading this comic, but I couldn't reccommend buying it, because in its current form, it just won't last.

About two or three years ago, I read just about every single dystopian novel I could get my hands on; call it a bizarre phase brought on by adolescence, but for some reason, V for Vendetta escaped my attention until quite recently, perhaps because it was a graphic novel. I stumbled across some sort of cheesy promotion for the movie quite by accident, took one look at the synopsis, and decided it was worth a sampling of the source material. I read about fifteen pages before deciding that I had to have a copy of my own.

That was probably the best book buy I've made this year. V for Vendetta has a sort of edgy, gritty, hyper-reality that few novels in any genre possess. The juxtaposition of the ordinary with the ugly and the unnerving is brilliant and wonderfully jarring. What perhaps surprised me the most was the subtlety and depth in V for Vendetta. Most books about dystopian futures can be distilled into "Government system/philosophy/belief X is bad and will crush humanity." V for Vendetta presents two equally misunderstood and maligned ideologies, anarchy and fascism; there is no one fighting for "justice" or "truth" or all of those trite terms we've been bombarded with since grade school. We are left with questions about V, Susan, and whether violence is truly justified. V in particular forces us to ponder questions we probably never dreamed of: very few people question justice as a noble ideal, yet V leaves an explosive Valentine and a disturbing speech at the feet of Madam Justice.

I strongly recommend V for Vendetta, but with this caveat: it is unwise for those who cannot or will not attempt to understand the implications of actions in the book to read it. It's not by any means necessary to understand the plot; for the most part, the surface story is fairly straightforward, even if the white, mid-level bureaucratic men are a little hard to keep track of. But it's not the story of V for Vendetta that counts. It's the message, the idea, that gives V his true power. Neither is it necessary to recognize all the allusions to previous literature and philosophy, but again, the more you know, the more V for Vendetta will offer.

If you encountered the movie first and are merely following up on the book, keep one thing in mind. This is how the story was originally intended.

Initially, when I read that Alan Moore was not happy about how the movie turned out, I was puzzled. However, after going back and reading this original Graphic Novel, I now understand why. The movie (while providing for it's intended effect) leaves a multitude of things out.

The story is much more complicated and the characters are provided much more depth herein. In fact, anarchy aside, I would say that this graphic novel is a completely different story. It's a must grab.

Based on plot and artistry, "V for Vendetta" deserves five stars. Alan Moore's alternate history throws the reader into a chilling fascist England where the champion of liberty is the poetic, deranged vigilante, V.

England has somehow survived the consequences of humanity's self-destructive myopia, but it has not survived intact. Facism rules the day, and England has been generally "purified" of minorities, homosexuals, and other officially-targeted degenerates.

But plenty of officially-sanctioned degenerates abound, and they form both the upper and lower echelons of this new England. That is, until V strikes a blow for chaos, for liberty, and for freedom. V, a scarred survivor of the worst of the internment camps formed by the fascists, is undeniably insane, but he has the spirit of a poet and the mind of a genius hidden behind his Guy Fawkes mask. He singlehandedly leads a campaign of terrorism against the corrupt powers-that-be, and there are several dazzling passages as "V" explores both V's perspective on life and his history as well as the more sordid characters who comprise England's new corrupt power structure.

Many of these scenes are captured by Moore with startling visuals and poetic images. This is a dark-yet-colorful graphic novel -- nothing like Frank Miller's zebra-esque "Sin City" stories. Lurid colors combined with creepy darkness evoke the corruption that is the brave new world.

Unfortunately, this review is of the paperback edition of the story, not the story itself. The paperback edition of "V for Vendetta" is, quite frankly, too darn small. Several panels feel crimped and crammed in, and I felt a lot of eye strain as I tried to explore the details of some of the more intricate panels. This is particulary important for a very "talky" graphic novel, where often much of the panel is given over to dialogue boxes, even further reducing the artist's available space for the artistic elements.

While I would strongly recommend reading "V for Vendetta," particularly in advance of the blockbuster movie, I strongly recommend avoiding the paperback edition and hunting down a larger hardback copy.

British writer Alan Moore earned his place in the comic book writers' pantheon with his seminal turn on Swamp Thing in the 80s, part of the triumvirate of Frank Miller, Neil Gaiman, and Moore who transformed lowly comic books into a respectable artistic medium.
And, like Miller and Gaiman before him, Moore found that the only way to carry on once you've thoroughly changed your industry is to do do it again and again in new and novel fashion.
Thus, I give you "V for Vendetta," the absolute furthest thing from "Swamp Thing" and "Watchmen" imaginable.
Moore almost singlehandedly restored the creepy cool of EC horror comics with his run on "Swamp Thing." He redefined the superhero genre with "Watchmen." With "V", Moore abandoned the conventions of both genres and embraced gritty Orwellian scifi.
"V" is set in a Britain which has embraced Fascism following a nuclear conflict which left the nation intact but badly bruised. Mirroring Hitler's ascent over the ashes of the Weimar Republic, the Norsefire party seizes power in Britain and restores order at a horrible price.
That is, until a stylish terrorist in a Guy Fawkes mask codenamed "V" appears on the scene to tear the new order down.
"V for Vendetta" marks a major departure from comic book style. David Lloyd's cinematic style plays like a storyboard for a film; gone are the motion lines and Batman-esque sound effects so familiar to comic readers. Lloyd also dispenses with one of the comic writer's main crutches for exposition---the thought balloon. The story is thus relayed entirely by motion and dialogue, deepening the inherent mystery of the plot as we try to comprehend the master plan of the inscrutable antihero "V".
As with "Watchmen", Moore has layered his tale with enormous depth, making subsequent readings a must to truly comprehend all that's going on within the plot.
If you're interested in seeing what the comic art form is capable of when geared toward an adult audience, rush out and grab a copy of "V for Vendetta" today.

Collected from the cult early eighties British comic, 'Warrior', Moore and Lloyd's chilling V for Vendetta portrays a chilling alternate Britain which has succumbed to fascism after a nuclear altercation has destroyed most of the world. In a bleak and violent society, only the strangely Jacobean vigilante 'V' seems to act as a force for good.
As with Orwell's 1984, Moore and Lloyd's 1982 vision of Britain in '1997' is no less potent now that the year itself has been and gone. Darkly brilliant stuff. Lloyd's art has never been better and after this, The Watchmen and 2000AD's greatest ever story, The Ballad of Halo Jones, can there be any doubt that Alan Moore is the greatest writer in British comics today?

Got this as a gift from my younger brother and I loved every aspect of it: the plot, which got me curious from the beginning to the end and also inspired me in many ways and nonetheless, the great artwork, both on the cover and internal pages.
A must-read for fans of classic adult comic books/graphic novels.

The reviews that warn about fascism partly miss the point of Alan Moore's writings. It is about both fascism and anarchy. The written version is not as artistically skilled as the movie - but the movie took liberties that re-shaped Moore's writings in a way that actually lost some of the seminal points in Moore's book.

There is no doubt that there is a danger both ways. Even in our culture. In many respects, as Alan Moore recognizes, both in his fiction and his public statements, we see the threat of both in our culture.

Fascism is one and the same with Communism (though many don't understand this). It, like Communism, is about control. Equating McCarthyism and Nixon's actions with fascism is a mistake stemming from a superficial understanding. Moore, however, "gets" fascism. It is, regardless of its form or orgin (religious or godless) about control of a human race.

Anarchism, on the other hand, is society without any control. It is about freedom without the rule of law - and that too has dire consequences as Moore recognizes in Vendetta. The irony is, both neo-conservatives and modern liberals want both a bit of anarchy - whether freedom from business regulation (the neo-con) or from artistic expression (the lib) - and a bit of control - e.g., a stronger police power in the fight against terrorism or other violent crime (the neo-con) or stronger regulations against endangering the environment (the lib). They just want it in different areas. Both liberals and neo-cons are part fascist, part anarchist. Ultimately, there is danger in both because they want power.

In the end, anarchy and fascism come full circle. The weak in both systems live in terror from the strong. Such, it appears to me, is one of the comparisons Alan Moore hopes for his readers to grapple with.

Unlike the film (which I will leave up to you to judge), this piece is not dated, and does not include a criticism of any specific regime or time period. Instead, it is an excellent presentation of anarchy versus fascism, with no guide book or good guys to guide you. On one side, you have a revenge-bent but idealist terrorist. Opposite him is a man who is concerned for the people of his country, and is therefore willing to play the hated dictator to save them from what he is convinced is hell. In between are average people working for their own ends, trying to survive. While the story focuses on V, the anarchist, the novel hardly focuses on his positive traits. He is, after all, a murderer and a terrorist. However, this book does an excellent job of stepping away from the blanket labels of both "terrorist" and "fascist" and forcing--God forbid--actual thought about the constant debate over when security compromises what it is trying to protect. Brilliant, profound, and morally vague, I would recommend this to anyone and everyone.

A wonderful book that shows the danger of giving any government too much power (for any reason, especially when you are afraid because you feel threatened or in danger ... people seldom make good choices when they are in fear for their life [real or imagined]).
Beyond the important message the book is entertaining and a good read. Written in the 1980's the book is eerily prophetic in its predictions of government surveillance tactics. Keeping in mind that this week the House of Reps just passed a bill that will keep phone companies free of lawsuits for allowing the government to tap phone calls without a warrant it strikes home more than ever.

It's been mentioned before, but the quality of the printing for this book is pretty poor. Honestly, I wouldn't have even minded the poor paper quality if the book side had simply been increased by about 2 inches on either side, but as is, things are pretty cramped and a lot of the detail is lost. So if you're picky, be warned.

If you've seen the movie, then you know what to expect here. There are some small changes, but for the most part, the book and the movie are pretty much parallel. I'm sure you've heard that Moore whined about the movie, and I was expecting to see a lot more differences, but no. The tone is really the same, the plot is the same, Moore was being silly.

I'd say this is take or leave if you've seen the movie. But if you liked the movie and want to get a slightly different take on the V story, or you haven't seen the film at all, check this one out.

I saw this film last weekend and a friend recomended I read the graphic novel. This was the first graphic novel I have ever read. Now I can say I wish I had read the novel first, it gives you more insight into the characters. The film is more compact and emphasizes a more politcial and moral base. The novel has more a "pulp fiction" feel.

I do not want to give too much away but will say there is a difference in the begining sequence when Evey meets up with the Finger Men. There is a relationship (that Evey has) and a few subplots from the novel that never make it into the film version. The endings are a bit different - see the film and read the novel and you can decide which you prefer.

I am glad that this was the first graphic novel I read because it has good character development and is entertaining. The illustartions compliment the story and even add to it. Other graphic novels I looked at were overwhemling visually. That was not the case with this novel.

I thought the movie version of this graphic novel by Alan Moore was decent but believe me, reading this novel is a much better experience. It goes far beyond anything seen in the film and has a much different ending, so even if you've seen the film you'll still love this story. Like all of Alan Moore's works, the story is complex and builds to the final pages with a great payoff. V really is one of the most unique characters in modern fiction, and this book even includes some extras in the back, including an interview with Alan Moore and some early concept art and promotional work. If you haven't read this novel, buy it, if you've read it in the past spring for the hardcover because you'll want to read it many more times in the future.

For real. This comic is better than Watchmen. And that's saying a heck of a lot. This is what started my love affair with Alan Moore's writing. The fact that you're reading this review trying to decide to buy it is suspect. Have you ever read Moore??? Of course anything he did for Image doesn't count as he even admitted that was all .... So stop reading and buy the book, it's a piece of graphic novel history.
Seriously.

This summer a friend of mine realized I had never seen the movie "V for Vendetta" and he insisted that I saw it. I didn't think it looked like my type of movie, but I watched it with him anyway. As I was watching it I was glued to the story line the whole time. I went home and looked up more information on the movie, and realized it was based off of a book, and not just a book, but a comic book.

I was a little intimidated about buying the book, because I had never read a comic book before, or graphic novel as it is referred too. But I can't love a movie and then not read the book. I started reading it and became just as hooked as I was when I watched the movie. The story was similar, yet very different. I enjoyed reading the extra details that the book included (as most books include while the movie excludes them.) Often I found myself just looking at the art; it is so cool to look at.

I highly recommend this book, especially if you enjoyed the movie. It is defiantly not a kid's comic book, it is a high quality piece of literature.

I had read a number of comics before I could get hold of a copy of V4vendetta. I read it all in one go, cried through it, was astonished by the twists of the tale and it really got me thinking for a long time. To me, it is as good as "1984" by George Orwell. A lot of die hard critics and writers who look down on comics and say they are kids' stuff ought to read this and see if they can write remotely as well.

Once again, DC Comics elevates the graphic novel to great heights! The artwork and storyline, as well as the handsome production values, make this truly a collectible worth reading. Especially interesting is the fact that, while written originally as a sardonic look at 1980's UK politics, it is shockingly relevant to today's global crises.

A great read soon to be released in an impressively faithful motion picture adaptation with Natalie Portman and Hugo Weaving.

I'm writing this review for the actual product and not the story. I was very disappointed. To start this was like reading an old newspaper comic that had been heavily exposed to sunlight. The colors were faint and it made it hard to distinguish faces and follow the intricate story-line. I was very excited about reading this but the presentation just made it difficult. I've seen digital versions of this graphic novel and they look way better, as expected with a digital copy. I may try a different format but I was disappointed with the quality of the paperback edition. This is a highly rated novel but I'll have to try it on a different format. I'm selling this one back to the store.

Can one man make a difference? Most surely yes. That is basically what I feel Moore is trying to say. How one human being who has suffered unimaginable wrongs at the hands of tyrants (under the guise of scientists) can avenge not only himself but his entire nation. The triumph of the human mind and spirit. Thank you Mr. Moore for opening my mind to a reality that otherwise may have gone unnoticed.

[...]
Frightening and powerful
In the early 1980's, Alan Moore (Watchmen, League of Extraordinary Gentlemen, From Hell, chances are if you're reading this you know the list) began this chilling work. In an alternate world, it's 1997, and America and the Soviets have nuked each other to extinction. England is left, now under a fascist regime, and everything seems to be under control, until a mysterious terrorist, wearing a Guy Fawkes mask and calling himself V, begins picking off government officials and destroying buildings and monuments. Moore's storytelling is nothing short of chilling; from the basic element of the loss of freedom to a totalitarian government to just who really fights for good (is it V or the government?), V For Vendetta is nearly unforgettable. That combined with David Lloyd's ultra eerie washed out color art make this one of the most chilling works in the world of comics you'll ever likely find. It's not as profound or as important as Moore's Watchmen or his Swamp Thing run, but this is still worth reading.

Alan Moore is also the author of the more famous Watchmen maxi-series, but this series came first and it clearly foreshadows the ideas expressed in Watchmen. The plot is not quite as complex as that of Watchmen, but the characterization is excellent. It is not long, consisting of a 10-book maxi-series in comic-book format. I believe that this is one of the essential series for those who like mature comics.

"V is for Vendetta" is a a dystopian tale of Britain under a fascist regime. In true comic book fashion, a character named "V", who wears an unsettling, always grinning, theatrical mask is setting out to topple this totalitarian empire. The combination of a larger-than-life Shakesphere-quoting hero and an Orwellian near future (or more apparent present) makes for fun and somewhat grim reading. It remains suspensful as you are brought into "V's" elaborate plan to topple the government and bring about anarchy and also as you try to figure out who it is under the mask.

The art is dark, spare and flat and works well with the story. This book is no where near as good a read as "1984" or "Fahrenheit 451," but what it lacked in substance it made up for in style. It was, sticking with comic book form, a tale of good and evil, the twist being that the evil is a totalitarian state and the hero is a anarchist bomb-throwing radical.

I have one complaint, the print is really small and after a bit reading, I found it made it hard to concentrate.

I saw the Film first, then read the Graphic Novel. Loved both of course and very much would recommend it. Read the book first, the language and writing is as much satired and flamboyant that it feels more ambigious as in the film, the film has its own excellent adaptation of the novel, which makes it more enjoyable. The book has a more Vaudeville and Neo-Dickens-on outlook of it, and it pars well in that much of it feels very cinematic. Both good versions of a cunning and elequent story. 9/10.

No he doesn't have sex with the girl. It's another type of romance that this masterpiece is. It is not only a great story, but also a well drawn piece of art. I would suggest this to any Alan Moore fan and anarchist. Though it is funny that Guy Fawkes was chosen considering that the general opinion of Guy Fawkes in Britain is not a friendly one.

This is an amazing book! I can describe it using few words, and those words would be... BRILLIANT...DAZZLING...AWESOME...and AMAZING. The truth is that "V FOR VENDETTA" is a true MASTERPEICE in every sense of the word. If you like to read graphic novels then you MUST see to it that you pick up a copy of this book! You will not be disapointed.

I'd also recommend reading "BATMAN: YEAR ONE" and "SIN CITY: THAT YELLOW BASTARD" by Frank Miller. Both novels are also teriffic.

Re-reading V again after a break of some years, I was pleased to see how well it holds up. There are signs of its age but they don't diminish the overall effect much, which in the wake of the London riots and the growing fascist tendencies in the west remains chilling.

And that's saying alot. Alan Moore may have forgetten how to write, but he still left us with his two stunning works and a great run on Swamp Thing. The comparisons to 1984 are well deserved, but V is more positive and hopeful than Orwell. The characters come off very well, and considering when this was originally published, it may be comics' first great work.

this is an interesting book on many levels. the hero is obviously out of his mind. the villians believe they are doing the right things. and then there are the in-betweens. the police officer's wife who's life is shattered when he dies. the controlling wife of another officer. multi-layed goodness.

the only real drawback to the book is that it's beginning to show it's age. and the fact that while technically, English is spoken by on both sides of the pond, reality is that American English and the Queen's English are just different enough to make understanding a bit difficult. petty things, that's all.

i did enjoy the book, and have high hopes for the movie that will be out soon.

I picked this up not expecting much, the art looked weak and the story seemed overdrawn. But alas, I picked it up and read it from front to back as soon as I could, nothing short of LOVING it and being very pleasantly surprised. Leave it to Alan Moore to create another engaging story, and the article written by said person was a good wrap-up to the graphic novel.

Essentially, this is a must buy for any good graphic novel fans, especially anyone who liked Watchmen.

I admit, I never knew about this book until I saw the movie. I am certainly glad I did becuase it is very very powerful read. The plot is similar to the movie, yet very different. It's more complex and has all of the subtle details that make it that much better.

My only complaint is that some of the dialog of the secondary characters is difficult for me to read and understand becuase it is written with a heavy english accent.

The plot is very gripping, I found it difficult to put it down and read the whole thing in a couple of hours. Also, the concept of a graphic novel is new to me, I've never read one before so this was a new experience (that i enjoyed).

All in all, this book is simply brilliant. If you liked the movie then READ THIS BOOK.

For all the people out there who haven't watched the movie, DON'T, read the comic and don't watch the movie. I watched the movie before reading the comic and i must admit that was a HUGE mistake. After reading the comic i understood why Alan Moore disowned the movie. i even read in some interview that he wanted his name off the book! he said he doesn't want to have anything related to the american comic book industry! shame! The movie was a DISGRACE to this beautiful work. Anyways this graphic novel is one of the greatest things u'll ever read in your life, specially if u are living in a place ruled by a totalitarian government. It is just GREAT.
Compared to the movie, it is very obvious how the movie amercanized the comic and the theme. You can see how much details they dropped off, and they are indeed very important details. I haven't read much for alan moore yet though i do plan to. I've read how this hardly this guy works to construct his characters his plot everything, he does real hard research and he has the ability to work on a single work for many many years just to get it out right. I recommend this to all comic book fans, enjoy it.

Alan Moore and David Lloyd create a classic graphic novel anyone should try. This book is set in an alternate 1997, England's govourment is a fascist party, and there is a terrorist named V. That and much more is in this masterpiece of literature. This book is bassicly Alan Moore's version of 1984. Read this before the movie is released.

Forget the terrible movie-version! And while I'm not a fan of Alan Moore's latter day work (League of Extraordinary Gentlemen was a waste of time), this early epic IS extraordinary, made all the better with David Lloyd's dark, murky artwork.

If this is not the best graphic novel ever, then it is definitely one of the best. The art and the plot and even the songs all fit neatly together. If you have never read a graphic novel, this is a good place to start. Having said that, this deals with adult themes and is not suitable for pre-pubescents.

Wow!

I admit that I had not heard of this masterpiece until the film came out, but it doesn't matter how one is introduced to a great work, so long as they get to meet it. On the other hand, I was a bit too young when it was written I think to really appreciate what this story is. I just wish more people understood that just because the comic book may be the chosen forum it doesn't mean that the story should be taken any less seriously.

Having now seen the film and read the graphic novel, I'm not sure that one is better than the other. They both tell the same powerful story. Different forums, different conventions, but both excellent. I don't think you can have one without the other.

In any case, this is definitely worth reading! Wow!

If you like Batman and an avid observer of politics (especially if you are on the opposition side), this book is definitely your choice. It's a must for free spirited people whose liberated minds are too outburst to be contained by the laws and rules of their governments. Then again, it's still just fantasy, though.

Moore's story takes place in a not-to-distant Britain in a world that has, for the most part, fallen apart. Disease and economic collapse run rampant outside of England, and is kept out seemingly by the strong hand of a fascist government that "saved" the nation. Now, however, a mysterious man wants revenge on those who rule the country, and he plans to gain his vengeance while bringing the entire government down around him. "People shouldn't be afraid of their government-government's should be afraid of their people."

V for Vendetta is a book that has a lot of impact when you first read it, but it wasn't the most entertaining thing I've ever read. I think it does a lot of things better than the movie, although it does have its shortcomings too. However, I would still recommend reading it.

This one's a classic, no doubt about it. An exceptionally well-presented anti-totalitarian theme couched in an entertaining narrative. The Wachowski brothers of THE MATRIX fame want to make this their next non-Matrix film... I just can't wait. Any fan of graphic storytelling HAS to read this, and anyone who's scoffed at the medium previously should give it a try and be bowled over. Superior work, and better than most of what I've read in prose lately.

I felt that this was a masterfull piece of writting that created one of the most original characters ever in V himself. It was not a Love story, it is a story about revolution and how once Big Brother is allowed to much control, the only way back to peace is Anarchy.

Awsome read. Really Enjoyed it.

To anyone that has seen the movie and enjoyed it, but has not read the book:
DO IT NOW.
The movie is not even the same story, it just has a similar message. So many changes were made for NO reason. God I wish I could film the story Alan Moore wrote here, instead of the wachowski's drivel. Seriously though, this is one of the greatest lessons in true patriotism and the power of symbols over the masses. For anyone as fed up with the current state of global affairs as I am, this book rings true in the same fashion that Orwell's "1984" or Huxley's "A Brave New World" did in their times. A man with a finger truly on the pulse, prophetic and foreboding, and a little too close to accurate. Read this now, and always remember the 5th of november.

[...]
Alan Moore: So I decided to use this to political effect by coming up with a projected Fascist state in the near future and setting an anarchist against that. As far I'm concerned, the two poles of politics were not Left Wing or Right Wing. In fact they're just two ways of ordering an industrial society and we're fast moving beyond the industrial societies of the 19th and 20th centuries. It seemed to me the two more absolute extremes were anarchy and fascism. This was one of the things I objected to in the recent film, where it seems to be, from the script that I read, sort of recasting it as current American neo-conservatism vs. current American liberalism. There wasn't a mention of anarchy as far as I could see. The fascism had been completely defanged. I mean, I think that any references to racial purity had been excised, whereas actually, fascists are quite big on racial purity.

The Beat: Yeah, it does seem to be a common element.

Moore: It does seem to rather be a badge they wear.Whereas, what I was trying to do was take these two extremes of the human political spectrum and set them against each other in a kind of little moral drama, just to see what works and what happened. I tried to be as fair about it as possible. I mean, yes, politically I'm an anarchist; at the same time I didn't want to stick to just moral blacks and whites. I wanted a number of the fascists I portrayed to be real rounded characters. They've got reasons for what they do. They're not necessarily cartoon Nazis. Some of them believe in what they do, some don't believe in it but are doing it any way for practical reasons. As for the central character of the anarchist, V himself, he is for the first two or three episodes cheerfully going around murdering people, and the audience is loving it. They are really keyed into this traditional drama of a romantic anarchist who is going around murdering all the Nazi bad guys.

At which point I decided that that wasn't what I wanted to say. I actually don't think it's right to kill people. So I made it very, very morally ambiguous. And the central question is, is this guy right? Or is he mad? What do you, the reader, think about this? Which struck me as a properly anarchist solution. I didn't want to tell people what to think, I just wanted to tell people to think, and consider some of these admittedly extreme little elements, which nevertheless do recur fairly regularly throughout human history. I was very pleased with how it came together. And it was a book that was very, very close to my heart.

...

At this point, I said that's it I'm not working for DC again and also I still want my name off this film, if they don't take my name off this film, I will be taking my name off the books, because it means that much to me to sever my connection with this whole painful business.

The Beat: But, Alan, isn't that throwing out the baby with the bathwater?

Moore: Well, I don't own the baby anymore, Heidi! The baby is one I put a great deal of love into, a great deal of passion and then during a drunken night it turned out that I'd sold it to the gypsies and they had turned out my baby into a life of prostitution. Occasionally they would send me increasingly glossy and well-produced pictures of my child as she now was, and they would very, very kindly send me a cut of the earnings. This may sound melodramatic, but I've been writing for 25 years and I think that the passion with which I write is probably evident-it's not faked. I really do feel intensely passionate about nearly everything I write. Obviously, it's going to vary, but I try to be passionate about everything I write. In some cases I succeed. V for Vendetta was one of those cases. It's that-I mean for 20 years since then, it's been a kind of a dull ache that the regular paychecks of our cut of the money don't really do an awful lot to assuage.

========

[...]

The book, like the movie, is astounding. But... Perhaps, either too jaded by the movie or not enough of a fan of the graphic novel, there is something missing in the novel that makes the movie so wonderful... I believe that too much is given away in the book at the beginning that is left a mystery until the very end, if ever, of the movie, and with that knowledge the book is somewhat dampened. Still absolutely worth read.

V for Vendetta is a classic. It is Orwellian and done for a modern audience. What else can I say. They don't come along like this one often.

Just saw this being offered for sale this Spring on the store. The graphic novel NEVSKY. A timeless story of the battle for freedom through patriotism is retold in a vibrant new form this Spring with Nevsky, an original graphic novel adaptation of Sergei Eisenstein's classic film "Alexander Nevsky" (1938). Written by Ben McCool (Memoir, Pigs) with art by rising star Mario Guevara (Solomon Kane, Victorian Undead) and edited by Scott Dunbier, this full-length graphic novel is a stunning re-imagination of Eisenstein's famed film. What a great idea for a new modern audience. Here is a link I found for the graphic novel: [...]. I did a little research and found some of Eisenstein's other pictures as well. Orson Wells used many of the techniques of montage in CITIZEN KANE that was pioneered by Eisenstein. All the great directors have studied Eisenstein's work and we see the result in film being made today.

The battle for people to be free resonates in the graphic novel, NEVSKY and in the film by Sergei Eisenstein also a classic.

.............This was great. V is very enigmatic, and all the characters are memorable. The story actually has a great message. I read this a long time ago, and i want to make sure more and more people read this before the movie comes out. I think the movie will be great. I love the watchowskies, but everybody should read this before seeing that. i heard they were changing the story up a bit.

An exelent comic with a shocking but suprisingly very posible version of the future. Alan Moore Simply put is the greatist comic book athur ever. Highly recomended for anyone who liked the wathcmen, the story is just as good and the art is much better.

hooweee!! What an adventure...
Men in masks have always been fun, but none as fun as V. He can fight like Bruce Lee, play the Piano like Liberace, and that's just for starters. But hey! this cat's no cad. He resists the ladyfolk with a swash buckle of his sword. And what lies at its tip? A beautiful flower to adorn her breast.
But beneath the mask there's no fun, just a face. So onwards he goes, on an adventure that takes in the sights of my fair city. There are tears, laughter, priests, and even sex!! Can you imagine it? I can...
You may say Anarchy, but V says "Liberty, Liberty, LIBERTY!!!". VIVA VENDETTA!

For all the people out there who haven't watched the movie, DON'T, read the comic and don't watch the movie. I watched the movie before reading the comic and i must admit that was a HUGE mistake. After reading the comic i understood why Alan Moore disowned the movie. i even read in some interview that he wanted his name off the book! he said he doesn't want to have anything related to the american comic book industry! shame! The movie was a DISGRACE to this beautiful work. Anyways this graphic novel is one of the greatest things u'll ever read in your life, specially if u are living in a place ruled by a totalitarian government. It is just GREAT.
Compared to the movie, it is very obvious how the movie amercanized the comic and the theme. You can see how much details they dropped off, and they are indeed very important details. I haven't read much for alan moore yet though i do plan to. I've read how this hardly this guy works to construct his characters his plot everything, he does real hard research and he has the ability to work on a single work for many many years just to get it out right. I recommend this to all comic book fans, enjoy it.

Alan Moore and David Lloyd create a classic graphic novel anyone should try. This book is set in an alternate 1997, England's govourment is a fascist party, and there is a terrorist named V. That and much more is in this masterpiece of literature. This book is bassicly Alan Moore's version of 1984. Read this before the movie is released.

Forget the terrible movie-version! And while I'm not a fan of Alan Moore's latter day work (League of Extraordinary Gentlemen was a waste of time), this early epic IS extraordinary, made all the better with David Lloyd's dark, murky artwork.

If this is not the best graphic novel ever, then it is definitely one of the best. The art and the plot and even the songs all fit neatly together. If you have never read a graphic novel, this is a good place to start. Having said that, this deals with adult themes and is not suitable for pre-pubescents.

Wow!

I admit that I had not heard of this masterpiece until the film came out, but it doesn't matter how one is introduced to a great work, so long as they get to meet it. On the other hand, I was a bit too young when it was written I think to really appreciate what this story is. I just wish more people understood that just because the comic book may be the chosen forum it doesn't mean that the story should be taken any less seriously.

Having now seen the film and read the graphic novel, I'm not sure that one is better than the other. They both tell the same powerful story. Different forums, different conventions, but both excellent. I don't think you can have one without the other.

In any case, this is definitely worth reading! Wow!

If you like Batman and an avid observer of politics (especially if you are on the opposition side), this book is definitely your choice. It's a must for free spirited people whose liberated minds are too outburst to be contained by the laws and rules of their governments. Then again, it's still just fantasy, though.

Moore's story takes place in a not-to-distant Britain in a world that has, for the most part, fallen apart. Disease and economic collapse run rampant outside of England, and is kept out seemingly by the strong hand of a fascist government that "saved" the nation. Now, however, a mysterious man wants revenge on those who rule the country, and he plans to gain his vengeance while bringing the entire government down around him. "People shouldn't be afraid of their government-government's should be afraid of their people."

V for Vendetta is a book that has a lot of impact when you first read it, but it wasn't the most entertaining thing I've ever read. I think it does a lot of things better than the movie, although it does have its shortcomings too. However, I would still recommend reading it.

This one's a classic, no doubt about it. An exceptionally well-presented anti-totalitarian theme couched in an entertaining narrative. The Wachowski brothers of THE MATRIX fame want to make this their next non-Matrix film... I just can't wait. Any fan of graphic storytelling HAS to read this, and anyone who's scoffed at the medium previously should give it a try and be bowled over. Superior work, and better than most of what I've read in prose lately.

I felt that this was a masterfull piece of writting that created one of the most original characters ever in V himself. It was not a Love story, it is a story about revolution and how once Big Brother is allowed to much control, the only way back to peace is Anarchy.

Awsome read. Really Enjoyed it.

To anyone that has seen the movie and enjoyed it, but has not read the book:
DO IT NOW.
The movie is not even the same story, it just has a similar message. So many changes were made for NO reason. God I wish I could film the story Alan Moore wrote here, instead of the wachowski's drivel. Seriously though, this is one of the greatest lessons in true patriotism and the power of symbols over the masses. For anyone as fed up with the current state of global affairs as I am, this book rings true in the same fashion that Orwell's "1984" or Huxley's "A Brave New World" did in their times. A man with a finger truly on the pulse, prophetic and foreboding, and a little too close to accurate. Read this now, and always remember the 5th of november.

[...]
Alan Moore: So I decided to use this to political effect by coming up with a projected Fascist state in the near future and setting an anarchist against that. As far I'm concerned, the two poles of politics were not Left Wing or Right Wing. In fact they're just two ways of ordering an industrial society and we're fast moving beyond the industrial societies of the 19th and 20th centuries. It seemed to me the two more absolute extremes were anarchy and fascism. This was one of the things I objected to in the recent film, where it seems to be, from the script that I read, sort of recasting it as current American neo-conservatism vs. current American liberalism. There wasn't a mention of anarchy as far as I could see. The fascism had been completely defanged. I mean, I think that any references to racial purity had been excised, whereas actually, fascists are quite big on racial purity.

The Beat: Yeah, it does seem to be a common element.

Moore: It does seem to rather be a badge they wear.Whereas, what I was trying to do was take these two extremes of the human political spectrum and set them against each other in a kind of little moral drama, just to see what works and what happened. I tried to be as fair about it as possible. I mean, yes, politically I'm an anarchist; at the same time I didn't want to stick to just moral blacks and whites. I wanted a number of the fascists I portrayed to be real rounded characters. They've got reasons for what they do. They're not necessarily cartoon Nazis. Some of them believe in what they do, some don't believe in it but are doing it any way for practical reasons. As for the central character of the anarchist, V himself, he is for the first two or three episodes cheerfully going around murdering people, and the audience is loving it. They are really keyed into this traditional drama of a romantic anarchist who is going around murdering all the Nazi bad guys.

At which point I decided that that wasn't what I wanted to say. I actually don't think it's right to kill people. So I made it very, very morally ambiguous. And the central question is, is this guy right? Or is he mad? What do you, the reader, think about this? Which struck me as a properly anarchist solution. I didn't want to tell people what to think, I just wanted to tell people to think, and consider some of these admittedly extreme little elements, which nevertheless do recur fairly regularly throughout human history. I was very pleased with how it came together. And it was a book that was very, very close to my heart.

...

At this point, I said that's it I'm not working for DC again and also I still want my name off this film, if they don't take my name off this film, I will be taking my name off the books, because it means that much to me to sever my connection with this whole painful business.

The Beat: But, Alan, isn't that throwing out the baby with the bathwater?

Moore: Well, I don't own the baby anymore, Heidi! The baby is one I put a great deal of love into, a great deal of passion and then during a drunken night it turned out that I'd sold it to the gypsies and they had turned out my baby into a life of prostitution. Occasionally they would send me increasingly glossy and well-produced pictures of my child as she now was, and they would very, very kindly send me a cut of the earnings. This may sound melodramatic, but I've been writing for 25 years and I think that the passion with which I write is probably evident-it's not faked. I really do feel intensely passionate about nearly everything I write. Obviously, it's going to vary, but I try to be passionate about everything I write. In some cases I succeed. V for Vendetta was one of those cases. It's that-I mean for 20 years since then, it's been a kind of a dull ache that the regular paychecks of our cut of the money don't really do an awful lot to assuage.

========

[...]

The book, like the movie, is astounding. But... Perhaps, either too jaded by the movie or not enough of a fan of the graphic novel, there is something missing in the novel that makes the movie so wonderful... I believe that too much is given away in the book at the beginning that is left a mystery until the very end, if ever, of the movie, and with that knowledge the book is somewhat dampened. Still absolutely worth read.

V for Vendetta is a classic. It is Orwellian and done for a modern audience. What else can I say. They don't come along like this one often.

Just saw this being offered for sale this Spring on the store. The graphic novel NEVSKY. A timeless story of the battle for freedom through patriotism is retold in a vibrant new form this Spring with Nevsky, an original graphic novel adaptation of Sergei Eisenstein's classic film "Alexander Nevsky" (1938). Written by Ben McCool (Memoir, Pigs) with art by rising star Mario Guevara (Solomon Kane, Victorian Undead) and edited by Scott Dunbier, this full-length graphic novel is a stunning re-imagination of Eisenstein's famed film. What a great idea for a new modern audience. Here is a link I found for the graphic novel: [...]. I did a little research and found some of Eisenstein's other pictures as well. Orson Wells used many of the techniques of montage in CITIZEN KANE that was pioneered by Eisenstein. All the great directors have studied Eisenstein's work and we see the result in film being made today.

The battle for people to be free resonates in the graphic novel, NEVSKY and in the film by Sergei Eisenstein also a classic.

.............This was great. V is very enigmatic, and all the characters are memorable. The story actually has a great message. I read this a long time ago, and i want to make sure more and more people read this before the movie comes out. I think the movie will be great. I love the watchowskies, but everybody should read this before seeing that. i heard they were changing the story up a bit.

One of the greatet graphic novels written. This isn't just a compilation of comic books and it isn't a takeoff on super hero comics but it is a true novel. Allen Moore understands the potential power of combining words and pictures to create a new form of literature. The scene where V stands below Madam Justice and talks about how she changed from an object of his affections to "Liar! ...Deny that you let him have his way with you, him with his arm-bands and jack boots!" And so, in frustration with the oppression of jack booted justice he has turned to Anarchy (are you listening John Ashcroft?) is worth the purchase price alone.
If you want to see where comics become graphic novels get this book!

An exelent comic with a shocking but suprisingly very posible version of the future. Alan Moore Simply put is the greatist comic book athur ever. Highly recomended for anyone who liked the wathcmen, the story is just as good and the art is much better.

This is by far Alan Moore's best work. His later work delves into more arcane moral problems but this book confronts the evil of fascism and group think with an amazing clarity. I consider this one of the best books I've read, graphic or otherwise.

I found From Hell, long boring conveluted and dull.
I found Watchmen so-so, obviously important but not so enjoyable these days.
I found V for Vendetta brilliant. It's simplicity is it's key. The simplicity of it's tale, the power of it's message. Even one heavy handed Deus Ex Machina element of the plot didn't spoil it for me. A must buy of comic readers every where.

Here am I again, confronted with classic, one of those comics that changed the way people looked at the media. On of those works that showed that comics and heroes aren't about flashy superpowers or great feats of strength, evil enemies and demonic characters with want for total destruction. This one showed that comic book can be intelligent, thought-provoking and in a way brave - in not choosing the easy way out. Its macabre atmosphere, which corresponds to bleak atmosphere of great towns and political systems of today, it's dark brilliance, brisk of Shakespearean tragedy, mask that never stops smiling and never shows it' face, birth and life of an subversive idea, romanticism embodied in a product of concentrational camps. Where Adorno saw nothing but bleak existence, destruction of all hope for humane project, Moore saw the birthplace of new kind of warrior, one which bathed in blood of fellow humans, one utterly insane but whose insanity feels as a better programme when compared to government one, one which embodies anarchy, revolution, and changes to come - all in one body.

There is no need for fresh, new and inspiring look to this classic, it aged wonderfully, showing just now its full potential. What maybe seemed overrated back then in the eighties, now shows itself as a reality, somewhat harsh, but metaphorically correct. What many of the "more literate" books failed to see, Moore and Lloyd showed in a disturbing way, forcing their reader to think once again about the world in which he lives in.

This is the book for everyone. It's not avant garde in a way the one would need vast amount of experience before reading it, it can be understood and enjoyed by total beginner, and it can be understood in all of it's complexity. That doesn't mean that Moore's symbols are banal or impregnated with pathetic high-talk. It means that "V for Vendetta" in it's simplicity becomes complex, its usage of shadows, perspective, movement, color - all blend into one fine piece of art that speaks of human struggle, human monstrosities, ordinary lives which shatters when confronted to aggressive ideology. It speaks of war, want for war, and want for peace eternal. Its political leftism may be appalling to some, which will consider way of V as being too radical and violent, it may disturb rational pragmatist who will in V's romanticism observe nothing but childish ideas which cannot, and should not be achieved. But mere existence of these interpretations, mere possibility to look upon this book as something more than colorful piece of action figures, shows how great this book is. Quarter of the century later, drawing inspiration from this one, many artist presented many great work to readers of the world, but few managed to score high as V did. If you didn't yet read this, you can be sure that you're omitting great work, kind of works that shows once in a decade or more. And after this, as you might have already guessed, way is open to "Watchmen".

Do read this book! Classic Alan Moore, and sooooo much fun. It's really hard to put down. Much more straightforward than his other material, in my opinion, but sometimes much more exciting to read. Set in the near future (now the near past) when post-WWII societies have turned to fascism after a nuclear apocalypse in which the UK was one of the only survivors. Put your thinking cap on and have a go!

Truly a great piece of fiction, "V for Vendetta" is as politically relevent today as it ever was. This is high quality work from beginning to end. It's well paced and exciting without being cheapened by too much action. Avoids comic book cliches such as excessive thought bubbles, motion lines, and onomatopoeia. The artwork is simplistic and honest, and the writing is spot on for all the characters. I'd expect no less from the man who brought us "Watchmen." This is an absolute must read for not only fans of comics, but everyone who enjoys an intelligent, dark, and mature story.

Alan Moore really comes into his own in this graphic novel. This scenario of the future, although perhaps far fetched to us today, was a very real scenario in the '80s, when the U.S. and the Soviets were at each other's throats. The way "V" speaks in classic literature is a nice touch. With the movie coming out next March, make sure you read this graphic novel before you see it. All in all, V for Vendetta is hard, gritty, light, and excellent. Don't miss this.

this a book is a nothing short of a master piece buy this you'll really like "Yes, I know my enemies they're the teachers that taught me to fight me: compromise, conformity, assimilation, submission, ignorance, hypocrisy, brutality, the elite. All of which are American dreams! All of which are American dreams! All of which are American dreams" - Zach de LaRocha .

V FOR VENDETTA is completley worth your wile. It will keep you entertaned to the end.

V FOR VENDETTA is a powerful story about loss of freedom and individuality, the story takes place in England following a bazar war that changed the face of the planet. In a world with no freedom or precious little faith in anything comes a mysterious man in a mask who fights political oppressors through terrorism and seemingly absurd acts. this is a gripping tale of the blurred lines between good and evil.

I relley liked this stoy but felt that there where som

The Graphic Novel lives up to the term "Graphic Novel". It is a very well written story, with good character development and a very good adventure. The one downside side, although not significant, is the graphics, they leaving you wanting lush full color drawings to further enhance the story. "All-in-all" it is highly recommended.

This novel, while slightly confusing in the beginning, accurately and beautifully depicts what is being told in the written text of the novel. At times, it is difficult to decipher exactly what the plot is, but all is revealed pages later.

Overall, it is artistically stunning, and a wonderful story. Bravo!

Yeah yeah, it's a landmark publication... blah blah

I got a bit bored to be honest, just didn't care about the characters all that much. It makes you think, but it's somewhat dated. Every serious comic afficionado should try to read this at some stage, but only people over 30s (or very well read modern history students) are likely to get the whole picture.

I read this book in only a few hours. I just reacently watched the movie and I decided to buy the book. I was totally amazed at how good a reprecentation they did with the movie. Only a few things were changed. But you get a bit more in depth look at the characters by reading this novel. If you want to expereince V for Vendeta all over again just read this graphic novel. And if you like this one you should also get "The Watchmen".

This is another brilliant Alan Moore story and I'm glad I read it before seeing the upcoming film. My only issue with the product is the newsprint-like paper it's printed on. For the price, I thought I was getting a better quality paper that won't yellow inside of a couple of years.

One of the definitive graphic novels -

if you like you comics gritty and a tad more realistic then look no further.

A mysterious "hero" , grey morals and an excellent plot combine to make this a thrilling read

If your considering a graphic novel - start here

Moore's an absolute genius, as demonstrated by this, Miracleman, Swamp Thing, and Watchmen. In the wake of the U.S. Supreme Court's recent installation of a president who was not democratically elected, I thought of this one and its uncomfortably accurate predictions of a rising tide of fascism.

V sits perfectly on my shelf next to Brave New World & 1984. Comics-Noir meets Ayn Rand. The chilling surrealist story is perfectly complimented by the dramatic visual presentation. It's a gripping as a Stanley Kubrik movie. 5 stars are simply not enough for this monumental testament.

So I'm finding now that the movie cut out several pertinent plot points from the novel, but i'm strangely okay with it, since had they held true to the graphic novel even at a 90% they would've easily added another hour and a half of runtime...

Regardless, I definitely reccommend checking it out, and thats a serious thing coming from me, since I'm primarily a Marvel fan, straying from all DC and Vertigo works with the exception of Batman comics!!
Snoochie Boochies :) !!!!!

I recieved this 2 days ago and it was in perfect condition just like I ordered it. When they say "new", they mean it. I am happy with this shipment as well. It arrived a day earlier than what was said and above all, the book is amazing. It may start slightly slow, but man does it hit hard when you keep reading. I love it, I love it, I love it.

Overly contrived and just too PC directed for my taste. The likeliest route the UK will take it to get to this horrible future is not the rightist one but the progist popular front w/the Muslim immigrant population. Now the aftermath of that will be a slaughter and the resulting society will make this one set in the book look quite pleasant.

The movie was worse though so don't prejudge the book by that mess.

good. very good. so good it is the goodest good book out of all good books. you will now belive how good it is. its goodness is so good it is the goodest book on the scale of goodness. i would like to end by saying it is awe inducingly good. good is the only way i can describe it.

Back in 2005, when I was freshly stationed in Seoul, South Korea, this movie had just come out, and I REALLY wanted to enjoy it. I couldn’t make it through the movie because nothing happened fast enough, and the book was equally as boring, but I stuck it out and finished. Honestly, this book was great to fall asleep to because all you would miss would be descriptions of descriptions. I know this review is short and sweet, but I really don’t have a lot to say about the book other than I was overjoyed when it was over.

Read all my reviews at the-pink-moose.com

I first saw the movie that was put out recently and i was taken in by the story and political aspect of the movie. I went in search for the book and found that the book in all ways was rich with brillance. The movie captures a portion of this, but the book really does justice to graphic novels. I highly recommend it.

An amazingly daring, innovative, provocative work of art! Enough said. Ignore the right-wingers (can I say Neo-Nazis?), this is an extremely enjoyable read. They just hate it because the villains remind them of themselves too much:)

This is more or less the graphic novel that led to the box office hit. The art work is almost the same as the original but with some minor tweaks. In all aspects almost perfect port of the original, the only major difference is on the front cover it has "Now a major motion picture" which completly takes away from the original look but i guess that doesn't really matter unless you're trying to pass a reprint off as an original

With V for Vendetta, Alan Moore reaches a lot of heights tied only by his masterpiece Watchmen. Though I'm a big fan of the film adaptation with Hugo Weaving and Natalie Portman, I'd say the comic does it better. The original is much more cerebral, much more ambiguous, whereas the film adaptation is a mostly straightforward superhero setup where the hero fights the big bad government. In the original, it's more complicated than that. Is V a hero or just an eccentric terrorist? Is he a vigilante or is he just another Unabomber? That's not quite up for me to decide. I'll leave that question up to you.

One of the definitive graphic novels -

if you like you comics gritty and a tad more realistic then look no further.

A mysterious "hero" , grey morals and an excellent plot combine to make this a thrilling read

If your considering a graphic novel - start here

Moore's an absolute genius, as demonstrated by this, Miracleman, Swamp Thing, and Watchmen. In the wake of the U.S. Supreme Court's recent installation of a president who was not democratically elected, I thought of this one and its uncomfortably accurate predictions of a rising tide of fascism.

V sits perfectly on my shelf next to Brave New World & 1984. Comics-Noir meets Ayn Rand. The chilling surrealist story is perfectly complimented by the dramatic visual presentation. It's a gripping as a Stanley Kubrik movie. 5 stars are simply not enough for this monumental testament.