The double header of Marvelman and V for Vendetta in Warrior were where Moore had revealed himself to be more than just the clever writer of things like the Abelard Snazz stories or “Tlotny Throws a Shape”-one capable of serious, penetrating work. This was not going back to the absolute start of his career, but it was close-the strip had begun serialization in the March 1982 debut issue of Warrior, at a time when Moore’s other work was The Stars My Degradation, occasional Future Shocks, and a couple Star Wars backups-before even Skizz or Captain Britain, so far back that it was able to influence the tail end of Morrison’s Captain Clyde run. Mostly this meant the completion of V for Vendetta for DC. Characters are safe, because they’re not real.” – Warren Ellis, Doktor Sleepless Figure 1605: V for Vendetta reached back to the earliest years of Moore’s comics career.Īnd what of their opponent, the self-exiled king? At first, a settling of accounts-the tying off of old obligations, so that the first phase of his career could be buried in full. Weird little Johnny from the big house on Scartop who ever really gave a shit? People like listening to characters. All the things I’ve been: no one’s ever been interested. No one cares about an orphan, or a rich man, or some grown up grinder kid from Heavenside. No one’s going to listen to a philosopher or a traveler. No one’s going to listen to a boy genius. Previously in The Last War in Albion: The entire Grant Morrison half of the book happened.
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