V for Vendetta originally hit the scene over 30 years ago in humble black & white, (before it was colorized in future republications). Yet somehow, this haunting standalone story continues to resonate with us, without any tacked on story continuations or reboots. Its movie adaptation hit the market to box office success, and its iconic imagery remains a primary symbol for underground change.
What is it about this small 10-issue story arc that continues to speak to us? With all of the changes that have occurred in society since the 1980’s, and all the modern works of fiction commenting on the current state of surveillance and government control, why does V for Vendetta remain core reading? And anyway, is V really the kind of hero we want to look up to?
“Eve: All this riot and uproar, V… is this Anarchy? Is this the Land of Do-As-You-Please?
V: No. This is only the land of take-what-you-want. Anarchy means “without leaders”, not “without order”. With anarchy comes an age or ordnung, of true order, which is to say voluntary order… this age of ordung will begin when the mad and incoherent cycle of verwirrung that these bulletins reveal has run its course… This is not anarchy, Eve. This is chaos.”
That’s all I remember about the story… or movie? I can’t remember if I have a copy of that or not.
(Could be both? I have a hard time separating them in my brain.) You definitely remembered a fundamental theme of the book, if nothing else! It seems like anarchy is being praised as giving humanity the opportunity to live up to its best potential, but… well…We might struggle sometimes with living up to our potential, even when given the opportunity.
Well… without starting a fire, someone typing at this computer may or may not agree with aforementioned opinion of Watchmen. But I thought the ‘V for Vendetta’ film truly tried to capture the spirit of the comic. I wonder what he specifically disagreed with.
@christowhit.7544, the structure of DC Universe isn’t as clean as having access to all the comics. We’re currently looking into expanding our library and the best way to do it for both internal interests and our fan’s happiness. Stay tuned!
“I don’t know where to stop, or how to go on. I stop when I shouldn’t. I go on when I should stop. There is weariness. But there is also defiance. Together they define me these days. Together they steal my sleep, and together they restore my soul. There are plenty of problems with no solutions in sight. Friends turn into foes. If not vocal ones, then silent, reticent ones. But I’ve yet to see a foe turning into a friend. There seems to be no hope. But pretending to be hopeful is the only grace we have . . .” - Arundhati Roy, The Ministry of Utmost Happiness, 2017
“I love the unanswered question, the unresolved story, the unclimbed mountain, the tender shard of an incomplete dream. Most of the time. But is it mandatory for a writer to be ambiguous about everything? Isn’t it true that there have been fearful episodes in human history when prudence and discretion would have just been euphemisms for pusillanimity? When caution was actually cowardice? When sophistication was disguised decadence? When circumspection was really a kind of espousal? Isn’t it true, or at least theoretically possible, that there are times in the life of a people or a nation when the political climate demands that we—even the most sophisticated of us—overtly take sides? I think such times are upon us.” - Arundhati Roy, Power Politics, 2002
A crucial aspect to its continued resonance. It presents an intelligent meditation on fascism and anarchy, with all the gray hued in-between layers, and without ever turning away or resorting to hollow caricature.
David Lloyd’s art at its most powerful and haunting for me. Just look at one of his original pages from issue one of Warrior . . . beautiful.