Reviews with content warning for War - V for Vendetta

I knew Alan Moore hated the movie (but he hates all adaptations of his comics) and now I understand why. It's not quite as egregious as Minority Report, which completely inverted both how the mechanics of the universe worked but also the message, but it's close. V for Vendetta the film was a commentary on the Bush administration, neo conservatism/liberalism, surveillance capitalism, but the comic is really about anarchism. Knowing that Moore was unhappy with the film kind of shaped the way that I read the comic, though, and I kind of think that the story has less to do with fascism (it's been done) and more of a philosophical exploration of the individual's relationship with the collective and government, essentially pointing out that The People are the responsible for whatever society they create and maintain, deserving all the credit and praise or ridicule and damnation.

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booksdogsandcoffee's review against another edition

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dark emotional informative medium-paced

Plot- or character-driven? A mix
Strong character development? Yes
Loveable characters? It's complicated
Diverse cast of characters? Yes
Flaws of characters a main focus? It's complicated

4.0

Still rings true in the modern politics of today. As V says “While I’ll admit that anyone can make a mistake once, to go in making the same lethal errors century after century seems to me nothing short of deliberate.”

As humans we continue to make the same mistakes over and over again and I think that is why V for Vendetta remains so timeless and relatable even 40 years after publication.

Cw
Genocide
Racism
Homophobia
Eugenics
Hate crime
Sexism
Rape
Death
Murder
Torture
Pedophilia
Antisemitism
Xenophobia

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adventurous mysterious tense fast-paced

Plot- or character-driven? Plot
Strong character development? It's complicated
Loveable characters? It's complicated
Diverse cast of characters? It's complicated
Flaws of characters a main focus? It's complicated

3.5

An absolute classic for a reason. Stripping the comic of sound effects and thought bubbles was a revolution in itself, creating a noir-ish feel without ever verging into the cinematic. This dystopic world avoids the pitfalls of many others by remaining grounded and feeling real, feeling contemporary - it was shocking to read the words “make Britain great again” in a comic that was not only pre-Trump, but pre-Thatcher. The Storm Saxon panels illuminate the kind of propaganda that we consume daily. All around brilliant, subtle world building.

The world of V for Vendetta is one in which fascists in Britain have successfully eradicated all visible ‘minorities’ from their country, leaving behind only those less visible - those who are queer. Characters are forced to make the decision: to be visible, or to move invisibly. For Valerie, this is her “one inch” that she will not give up. For Ruth, this is price she is willing to pay for her ‘freedom’ — a freedom that is simply a different sort of prison. It’s interesting to me that, in the afterword of the edition I read, Moore describes an earlier version of V as “transsexual” — and it’s true. Firstly in the sense that V is both everything and nothing, he is a man and a woman and both and neither, he is an idea, and anyone can be an idea. He represents anarchy and freedom and the queerness we can associate with that, and we see this as

Evey dons his mask and becomes him; a woman becomes a man. I can also very easily see V as Ruth, as someone who decided one prison and got the other one anyway, who is fuelled by remorse for what she did to Valerie, who takes her lover’s initial in an act of defiance but still feels the need for invisibility, the need to mask her face and lie.

The world of V is also one in which love has been replaced with power, and for me this is the strongest element of the novel. All romance is a power play. Sexual intimacy is girls on a stage, is rape. Susan (and there’s something to be said about genderplay with that name as well) is ruling a world so devoid of love that he falls for a computer (here again — a non-sexed ‘entity’ who is addressed as a woman and has the voice of a man). There’s an incredible scene where, almost in a trance, Susan whispers “I love you” to Fate, while Creedy trembles in the background, unsure if he’s the object of this affection. Lost love is depicted as queer joy, as a celebration of Blackness. And this is something that has been sacrificed for uniformity and control.

There are some issues I take with the comic. I think the film’s decision to make Gordon a queer man was the right one, as his role in the book is a little cloudy. I also wish the two leads were less opaque. While I understand this decision to make V more myth than man, I wish there had been moments to humanise him and make him feel more real.

But the biggest offence for me is Evey’s under-reaction to her torture and captivity at V’s hands. What V does is insurmountable, strangely motivated, unclear in its outcome. In my opinion it would almost be better if it were lost entirely.

Overall, a classic comic, one of the greats. Definitely an important read for anyone interested in the medium.

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