‘A fistful of dead roses…’. Comics as cultural resistance: Alan Moore and David Lloyd'sV for Vendetta

Uniform to Pulp: Performance of Transformation, Critique, and Community-Building for Veteran Soldiers

“…Some rhetorical analyses have argued for a processual bias to constructing the text. For example, Gray (2010) challenged critical readings of the British comic V for Vendetta that rely solely on the text of the comic, and included instead the comic's ''the alternative production context,'' to trace more fully its subversive impact on the superhero genre (p. 39).…”

Disintegration of Gender Equality in Alan Moore and David Lloyd’s V for Vendetta

“…The novel itself is a critique of government oppression during the time of its publication 1982 which Moore noted that Thatcher's Conservative party would lose against the Labour party in the governmental elections of 1983. (Gray, 2010). Regarding the female characters, this oppression through authority figures often takes the forms of sexual intimidation and violence, as they are often subjected to the advances of men who wield a sense of power over their lives through their roles as protectors or government officials (Lorriman, 2017).…”

Urban comix: Subcultures, infrastructures and “the right to the city” in Delhi

“…The invocation of the iconic Guy Fawkes mask, now a symbol for global anti-capitalist protests and hacker groups such as Anonymous, foregrounds the subcultural or "underground" production processes and their relationship with sociopolitical dissent. If in recent years V for Vendetta has "been collected in glossy and expensive prestige formats marketed as graphic novels", Maggie Gray (2010) Possible connections between Britain's "Iron Lady", a vilified figure in much of Moore's work, and "Mother India", re-coded as "Mother Moon" throughout Delhi Calm (Ghosh 2010, 46-54), foreground Ghosh's self-alignment with subcultural practices resistant to the divisive ramifications of contemporary neoliberalism -alongside Reagan, Thatcher was of course a leading proponent of this first Western and then global market restructuring (Merrifield 2014, 119). This alignment should also be read through the collaborative and subcultural processes of V for Vendetta's original publication: free of corporate obligation or state censorship, Warrior allowed Moore to mobilize his subcultural anti-Thatcherite resistance more effectively.…”