This is the first of fifteen parts of The Last War in Albion Chapter Nine, focusing on Alan Moore’s work on V for Vendetta for Warrior (in effect, Books One and Two of the DC Comics collection). An omnibus of all fifteen parts can be purchased at Smashwords. If you purchased serialization via the Kickstarter, check your Kickstarter messages for a free download code.
The stories discussed in this chapter are currently available in a collected edition, along with the eventual completion of the story. UK-based readers can buy it here.
|Figure 551: The chillingly prescient|
image of widespread CCTV cameras
in London. (Written by Alan Moore,
art by David Lloyd, from “The Villain”
in Warrior #1, 1982)
|Figure 552: The spartan squalor of Evey’s apartment.|
(Written by Alan Moore, art by David Lloyd, from “The
Villain” in Warrior #1, 1982)
|Figure 553: The semiotically dense first glimpse of the Shadow Gallery.|
(Written by Alan Moore, art by David Lloyd, from “The Villain” in Warrior
|Figure 554: Evey and V are juxtaposed as the first chapter’s titlecard is|
displayed. (Written by Alan Moore, art by David Lloyd, from Warrior #1,
|Figure 555: The scene shift in the final three panels of page two is|
emphasized with a shift towards panels dominated by blacks, in contrast
with Figure 554. (Written by Alan Moore, art by David Lloyd, from “The
Villain” in Warrior #1, 1982)
|Figure 556: The thin,|
cruel smile of the
Fingerman Evey foolishly
attempts to proposition.
(Written by Alan Moore,
art by David Lloyd, from “
The Villain” in Warrior #1,
|Figure 557: Evey’s terrified vulnerability is contrasted|
with Norsefire’s fascist vision of strength. (Written by
Alan Moore, art by David Lloyd, from “The Villain” in
Warrior #1, 1982)
With this, his colleagues step from the shadows, revealing five men being employed to take in one harmless would-be prostitute, and the “Fingerman” (as the woman calls him) explains that prostitution is “a Class-H offence. That means we get to decide what happens to you. That’s our perogative.” The woman begs them not to kill her, her letters becoming small and meek again, framing the propaganda poster of whatever sick regime this is, its slogan stamped “STRENGTH THROUGH PURITY PURITY THROUGH FAITH.” She pleads that she’ll “do anything you want,” but the pigs explain how this will actually work to her: “You’ve got it all wrong, miss. You’ll do anything we want and then we’ll kill you. That’s our perogative,” he repeats, by way of explanation, and Lloyd draws a narrow-panneled close-up of her wide-eyed, tear-stained face on the verge of rape, in the style of Frank Miller’s beautifully sliced rectangles of noir in Daredevil.
|Figure 558: Lloyd cuts from a close-up on Evey’s terrified face to the|
reveal of V, lighting stressing his moral ambiguity. (Written by Alan
Moore, art by David Lloyd, from “The Villain” in Warrior #1, 1982)
He then goes out to a wider panel in which the cloaked figure, unseen since the title card, stands, again cast half in brilliant white and half in printer’s shadow, and begins to speak his rhyme: “The multiplying villainies of nature do swarm upon him,” he proclaims, beginning to quote an account of Macbeth’s valor in combat from the first act of Shakespeare’s play, while one of the Fingermen begins the question, “who the hell…,” a note on which the page ends, marking the halfway point of the installment.
|Figure 559: V rushes towards Evey. (Written by Alan Moore,|
art by David Lloyd, from “The Villain” in Warrior #1, 1982)
The fourth page opens with a scene of chaos – the masked man advances forward, continuing his monologue from Macbeth, while the Fingermen attempt to block his path and speculate as to his identity, suggesting that he’s “some kinda retard got out of a hospital,” and warn him that he’s “in trouble, chum. Big trouble.. This woman is a criminal. We’re police officers. She’s wanted for interrogation, so keep your…,” but before the man can finish his sentence, the nature of the scene shifts out from under him. The second row of panels begins with a panel of a man holding a detached hand, staring at it as he completes the thought from the preceding panel: “hands off?” The masked man is gone from the panel, his cloak billowing behind him, showing that he’s already moved on from this scene. The next panel shows where – the detached hand is still visible in the top left of the panel, but the image is dominated by the masked man, shown from behind, cloak still furling out behind him as he charges towards the girl. The cloak fills most of the frame, and it is impossible to tell exactly what he’s doing, but the expression of agony on one of the Fingermen’s faces and the way in which the other one seems to have been thrown backwards suggests violence. “Disdaining fortune with his brandished steel, which smoked with bloody execution, like Valour’s minion carved out his passage till he faced the slave,” the masked man continues to narrate as he reaches the girl, who stares at him, meekly saying “oh” in the smallest of letters. The masked man faces to the right, implicitly completing the motion implied by his rushing out of shot at the first panel in the sequence. Having reached her, he turns to the Fingermen, firing off tear gas and disappearing amidst their confusion.
|Figure 560: A man explodes. (Written by Alan Moore, art |
by David Lloyd, from “The Villain” in Warrior #1, 1982)
It is this confusion that opens the fifth page, as the man holding the detached hand asks, “I got his hand. What shall I do with his…” Once again, he does not get to finish the thought, this time due to the hand’s unexpected and fatal detonation. “Oh Jesus,” one of the two surviving Fingermen says in horror, trying to figure out how his steadfast and reliable gig as a beat cop for a fascist authority has unexpectedly turned into a massacre at the hands of a ridiculously dressed man quoting Shakespeare. “We’ve got to find him,” the other says firmly, “or the Head will have our guts.” But the mysterious figure has already exited the scene – in the six panels of the Fingermen reacting to his attack, he is visible in only one, where they are shown in a long shot from above and behind, while in the foreground the man’s boots and cape are visible, depicted in pure and unadulterated black.
|Figure 561: V gives a|
surprisingly thorough and
accurate explanation of
himself. (Written by Alan
Moore, art by David Lloyd,
from “The Villain” in Warrior
It is not until the page’s third row of panels that the masked man makes a full return, sitting on a roof top with the girl he’s just saved from a grisly death, the Houses of Parliament and Big Ben visible across the Thames in the background. “You… you rescued me!” she exclaims, “like in a story! I don’t believe it. Wh-who are you?” The man’s reply is given in a panel consisting of a close-up of his masked face, his eyes further shrouded by the shadow of his hat brim. “Me?” he asks. “I’m the king of the twentieth century. I’m the bogeyman. The villain. The black sheep of the family,” he continues, drawing a tacit link with the accoutrements initially seen in what might either be described as his lair or his dressing room and their common thread of embracing ostentatious villainy and discarded radicalism, whether generally socially acceptable as with Utopia, totally socially unacceptable, as with Mein Kampf, or in a trickier space in between as with Capital. Understandably puzzled by his overtly cryptic answer, the girl asks what he’s doing hanging around Westminster at night, to which the man explains that “tonight is special. Tonight is a celebration. A grand opening. Were you never taught the rhyme,” he asks.