Wednesday, November 5, 2008

V for Vendetta # 1

Writer: Alan Moore
Artist: David Lloyd
Colorist: David Lloyd, Siobhan Dodd
Publisher: Warrior, DC
Published: 1982

"Remember remember the 5th of November..."

Today being November 5th, I couldn't resist including V for Vendetta to my 365 run. Alan Moore's tale of a totalitarian controlled Britain being undermined by the terrorist "V" is as potent today as it was over 20 years ago.

Issue 1 introduces us to V, the Guy Fawkes masked terrorist, as he rescues 16 year old Evey Hammond from Britain's Fingermen (basically cops). He then proceeds to take her to a nearby building, and to her shock and amazement, he blows up the Parliament buildings. The remainder of the issue has the powers in charge trying to figure out and capture V. During this time V captures Lewis Prothero, the Voice of Fate, and interns him in a mock concentration camp. The issue ends with Lewis returned to the cops, painted as a doll, and completely mad.

Admittedly I watched the film adaptation before I read the V for Vendetta graphic novel. Inevitably, because of this, I am unconsciously inclined to compare the two works, much to Alan Moores chagrin. Moore opposed the filming of V for Vendetta, as he is want to do. He makes a valid point though: his comic book works are just that, comic books. Not films. In this regard I completely understand his reasoning. The comic version of V for Vendetta is more indepth, has more characters to interact with and is able to express more ideas.

That being said, the film version is not lacking in one bit. The film sticks true to the original vision of Moore, even if it is missing some elements. V still dies, and Evey, although in a different method still follows through on his mission to liberate the people of Britain. On this basis, I would argue that both the comic and film are of equal merit. The only element that gives the film a slight edge was the blaring of the 1812 overture during the final act. It doesn't get much better than hearing the power and majesty of the 1812 overture as the old, corrupt, controlled totalitarian world is blown to bits.

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