Wikipedia says that Moore first floated the idea for what would become V for Vendetta at age 22, when he pitched a series set in the 1930s whose main character would be a "transsexual terrorist." It was rejected, but this interests me, because there really is an implication in both current versions that V could have originally been either or any sex, but it now very much neutral; that if he started out as a cis man, for example, it's just as likely that his origin involved him burning all sexual characteristics away in a Phoenix-like fire of reinvention.
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Moore and Lloyd conceived the series as a dark adventure-strip influenced by British comic characters of the 1960s, as well as by Night Raven, which Lloyd had previously worked on with writer Steve Parkhouse. Editor Dez Skinn came up with the name "Vendetta" over lunch with his colleague Graham Marsh — but quickly rejected it as sounding too Italian (in fact the word "vendetta" is Italian in origin). Then V for Vendetta emerged, putting the emphasis on "V" rather than "Vendetta". David Lloyd developed the idea of dressing V as Guy Fawkes after previous designs followed the conventional superhero look.
During the preparation of the story, Moore made a list of what he wanted to bring into the plot, which he reproduced in "Behind the Painted Smile":
Orwell. Huxley. Thomas Disch. Judge Dredd. Harlan Ellison's "Repent, Harlequin!" Said the Ticktockman, Catman and The Prowler in the City at the Edge of the World by the same author. Vincent Price's Dr. Phibes and Theatre of Blood. David Bowie. The Shadow. Night Raven. Batman. Fahrenheit 451. The writings of the New Worlds school of science fiction. Max Ernst's painting "Europe After the Rain". Thomas Pynchon. The atmosphere of British Second World War films. The Prisoner. Robin Hood. Dick Turpin...
The influence of such a wide number of references has been thoroughly proved in academic studies,above which dystopian elements stand out, especially the similarity with George Orwell's Nineteen Eighty-Four in several stages of the plot. The political climate of Britain in the early 1980s also influenced the work, with Moore positing that Margaret Thatcher's Conservative government would "obviously lose the 1983 elections", and that an incoming Michael Foot-led Labour government, committed to complete nuclear disarmament, would allow the United Kingdom to escape relatively unscathed after a limited nuclear war. However, Moore felt that fascists would quickly subvert a post-holocaust Britain. Moore's scenario remains untested. Addressing historical developments when DC reissued the work, he noted:
Naïveté can also be detected in my supposition that it would take something as melodramatic as a near-miss nuclear conflict to nudge Britain towards fascism... The simple fact that much of the historical background of the story proceeds from a predicted Conservative defeat in the 1983 General Election should tell you how reliable we were in our roles as Cassandras.
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More from the article:
Moore and Lloyd conceived the series as a dark adventure-strip influenced by British comic characters of the 1960s, as well as by Night Raven, which Lloyd had previously worked on with writer Steve Parkhouse. Editor Dez Skinn came up with the name "Vendetta" over lunch with his colleague Graham Marsh — but quickly rejected it as sounding too Italian (in fact the word "vendetta" is Italian in origin). Then V for Vendetta emerged, putting the emphasis on "V" rather than "Vendetta". David Lloyd developed the idea of dressing V as Guy Fawkes after previous designs followed the conventional superhero look.
During the preparation of the story, Moore made a list of what he wanted to bring into the plot, which he reproduced in "Behind the Painted Smile":
Orwell. Huxley. Thomas Disch. Judge Dredd. Harlan Ellison's "Repent, Harlequin!" Said the Ticktockman, Catman and The Prowler in the City at the Edge of the World by the same author. Vincent Price's Dr. Phibes and Theatre of Blood. David Bowie. The Shadow. Night Raven. Batman. Fahrenheit 451. The writings of the New Worlds school of science fiction. Max Ernst's painting "Europe After the Rain". Thomas Pynchon. The atmosphere of British Second World War films. The Prisoner. Robin Hood. Dick Turpin...
The influence of such a wide number of references has been thoroughly proved in academic studies,above which dystopian elements stand out, especially the similarity with George Orwell's Nineteen Eighty-Four in several stages of the plot. The political climate of Britain in the early 1980s also influenced the work, with Moore positing that Margaret Thatcher's Conservative government would "obviously lose the 1983 elections", and that an incoming Michael Foot-led Labour government, committed to complete nuclear disarmament, would allow the United Kingdom to escape relatively unscathed after a limited nuclear war. However, Moore felt that fascists would quickly subvert a post-holocaust Britain. Moore's scenario remains untested. Addressing historical developments when DC reissued the work, he noted:
Naïveté can also be detected in my supposition that it would take something as melodramatic as a near-miss nuclear conflict to nudge Britain towards fascism... The simple fact that much of the historical background of the story proceeds from a predicted Conservative defeat in the 1983 General Election should tell you how reliable we were in our roles as Cassandras.