Freud's Theory in Moore's V for Vendetta

         

Vigilance and Validation:  Freud's Conflict Theory Masked in Alan Moore's V for Vendetta 

         Does the man or woman behind the mask truly matter to the reader?  The element of the mask is possibly a tenant of superhero subtext, even with the idea of duality in both costume and civilian dress.  The superhero has several sides, and the mask is the culmination of providing a degree of connection for the reader to the hero or heroine that has the face covered with a mask. Â  If the mask is removed, the illusion may be shattered as the person wearing it is then compelled to exist as more than an idea or meta-narrative plot device.  The character, at least one that is well written, is forced to exhibit nuanced traits and conflicts of which the masked hero is devoid.  Yet, what of the heroes who are unmasked and must soldier on with the burden provided by an omniscient writer who has deemed them necessary to counter the ideology of this protective shroud of the mask?  With or without the mask, there must always be an underlying conflict present, which is then manifested in the hero and main characters.  V for Vendetta by Alan Moore is a graphic novel that employs complex characters who challenge the idea of the mask on several levels; furthermore, psychoanalytical criticism based on Sigmund Freud's conflict theory of the id, ego, and superego best reveals the novel's potential for greater insight into the author's reasons for masks through the characters and ideologies of the narrative.  Therefore, according to the tenets of conflict theory, Moore's main character, V, fails the overall narrative by conforming to the antagonist's ideology rather than furthering his own cause.
         Freud's theories, that have been controversial almost since their inception, are methods by which to assess the rationales of the conflicting natures which have the potential to reveal certain facets of oneself, or as with the novel, the characters' personalities.  His theory of the three traits is: the id, which expresses basic human needs and desires; the ego, which is conscious and must balance and reconcile the demands of the id and superego, and the superego, which is the conscience or judge (Berk 15).  If a person's id or superego is dominant, it leads to distress and conflict within oneself and with others, and that is why a person should strive to have equilibrium with the other components through the "balancing agent," the ego.  In order for one to allow for the ego to be in control, defense mechanisms, such as denial, transference, humor, and others are created to maintain a perfect order of the ego, according to Freud.  Thus, psychoanalytical criticism projects that conflict theory is well expressed in literature wherein an author allows one character, perhaps a secondary or minor one, to overshadow the main one.  Because of this aspect, one can view the main characters of these graphic novels as displaying characteristics of one of the three drives.  In V for Vendetta, Adam Susan and the Party are, jointly, the superego, and Evey embodies the id while V embodies the ego.  Through attributing these parts to the characters, the narrative is forced to succeed based upon whether equilibrium is created and maintained, mainly by the ego, or the protagonist to convey the ideology of the work.  The idea of the mask is further drawn into question, especially its validity, when paired with a character who has to regulate or train those around oneself, as to whether it enables or impairs the ability for balance to exist amongst them.
V for Vendetta, introduced in 1986 and continued throughout 1988, presents a dystopian totalitarian British society that has voided individuality and diversity to embrace Orwellian themes similar to those found in 1984.  However, there is one person willing to reject the flawed government and liberate the fellow citizens--V.
         In the novel, V is directly opposed to the system referred to as Norsefire, over which Adam Susan is the Leader.  Embodying the superego as the judge of self and others who have a very childish view of the world, Susan serves to create the necessary conflict to propel the story, but with further considerations of masking and unmasking that may reinforce the conflict.  At one point in the story, Susan announces himself as the Leader and establishes his position and his platform that clearly intends to oversee and overrule any who may disagree with his fascist ideals and policies (37).  Susan loves the idea of Lady Justice even though she is subverted and unmasked without her blindfold, and he never truly understands her. Also, he feels that the system should love him and circle around him as he gives it order, yet there is no reciprocation in this perceived relationship.
         As superego, Susan has no problem with judging himself more qualified over others that he considers inept and uninformed, but he is unable to see his own identity masked, or hiding behind the Party.  Susan never has a literal mask, yet his devotion to the Party creates a mask of which he is unaware.  The Party is created around the concept of its branches of government being the "Eye," the "Ear," the "Nose," and the "Mouth," and having the law enforced by the "Fingers." The facial characteristics are quite obvious given that the eyes, ears, nose, and mouth are often components of a face and, thereby, a facial mask.  However, in this novel, the Party's power is such that the extension of the mask's influence can be ascribed to the fingers, which are able to reach out and reinforce all that the eyes, ears, nose and mouth set out to accomplish.
         While Susan is the superego in juxtaposition to V and Evey, the Party is combined of its own branches, which together attempt to move the fascist agenda forward; instead, conflict within the Party's branches result in the dismantling of Susan's figurative mask and the subplot surrounding each of the branches.  The Party's parts are governed and administered by characters who continually echo themes of masks.  Each part has its mask or label while the person behind the "mask" is in conflict with the assigned duties. For example, the Eye is the visual surveillance department of Norsefire led by Conrad Heyer, who in direct conflict of his assigned duties has a wife, Helen, who believes she has the real power. Although this branch should maintain the ability to "see," it expresses a lack of balance; Heyer's persona becomes the mask hiding the truth behind his struggle at home.  The inefficacy of Heyer's mask is exacerbated by the center of his actual name-mask, Heyer, containing "eye" in the very center, yet he has limited "vision" or truth.
         As V dismantles these parts of the government separately in the narrative, these parts of Susan's figurative mask are breaking down.  Thus, the subplots unravel along with the main plot and Susan embodies each.  Given the degree of conflict presented with Susan's superego, it is not surprising that he has a mental and emotional breakdown. Susan's mental breakdown is further evidence that the Freud's conflict theory can be manifested in relation to the masks. Susan's breakdown is especially notable because his exterior mask, the Party ideology, and his interior mask, his role in the party, have both broken down.
Due to Susan's role as the superego and the failure of the Norsefire system in society, the character of Evey must stand in opposition as the id.  As the id, Evey is boiling over with need and emotion throughout the entirety of the work.  She constantly fluctuates between uncertainty and a wild abandon of emotion that she is unable to control.  Even after V has transformed her, she feels driven to don the mask.  She looks at it throughout, wanting the mask and the persona for herself, desiring to replace V as the parental identity that has raised her after the death of her parents.  The one moment where she deviates from this objective of obtaining the mask is when feeling rejected by V, she fulfills her need through taking Gordon as a lover.  However, she does not experience clarity through this self-effort with Gordon, she only falls back into V's manipulative hands.  It may be argued that Evey "almost" finds middle ego, but she returns to the id with her attempt at revenge.  With this personality drive, she replaces her "parent" and will most likely begin to mentor someone else for the pointless cycle to continue; this circular process is evidenced quite explicitly as the circle is part of the V logo displayed around town.  Also, reinforcing the circularity of Evey's inner turmoil through the narrative is the chase and torture scene where Evey is being forced to deal with her emotional fragility.  Thus, Evey's own efforts to assert her inner personality traits are futile.
         As Evey initially works through the trauma of her torture and the discovery that V was her tormentor, V encourages her to acknowledge the moment of the formation and recognition of this I, or inch, or integrity:
V: You were in a cell, Evey. They offered you a choice between the death of your principles and the death of your body.
Evey: Oh. Oh, I can feel it . . . oh what is it . . . oh, I'm going to die, I'm going to burst . . . . (Greenblatt).
In the scenes after V's death, Evey claims her greatest certainty with the line: "I know who I must be" (250).  Even though she has a conviction of what she must do, the id is still highly present in Evey's character despite any transformation by V because she still possesses the drive and need for safety.  This resolve in the narrative establishes that she must become V to save herself from the outer world.  At that point, she embraces the mask emotionally and takes the mask literally.  Ultimately, Evey takes V's persona whether it is truly her own persona or not.
         The source of Evey's dilemma and Susan's downfall originates with the character and protagonist, V.  Graphically intimidating, with stovepipe hat, long black cape, and Guy Fawkes mask, V begins the revolution with a bang--destroying the iconic Big Ben. Fireworks in the form of a "V" quickly replace the destruction, with V standing tall, immutable in the panels between the two actions--both caused by V, one to pronounce judgment, the other to divert the masses with entertainment. These scenes signal V's emergence and his role as the conduit for equilibrium (Moore 14).
         Unlike Susan and Evey, V wears a literal mask.  In fact, the most interesting aspect of V is often considered the mask, created by illustrator David Lloyd, to shield the identity of the character.  As with most superhero characters, such as Batman, Spider-man, and several others, the mask is employed to hide a part of oneself from the world.  However, V is not a heroic character in this aspect, and it is arguable as to whether he works better as an anti-hero since V is a protagonist willing to take any measure to accomplish his objectives, regardless of the costs to others.
         One of V's objectives is self-preservation, which the mask offers V.  One of the most telling elements to this is the role of identity explored by Alan Moore throughout the text.  The Finger, essentially the police or FBI of this story, as well as others make several references to V being a male.  However, some may suggest the male assignment is never fully conclusive because of hormone treatments administered to the residents of Larkhill.  Another element that masks the truth of V's gender is the long, fine hair worn by the character that further suggests an androgynous persona.  Continually, however, V wears a mask, even several other ones at times during the graphic novel, but whether it is his or her "true" face, the reader is never shown exact proof, and the exclusion of details behind the mask is significant.  The reader and the characters within the story are compelled to accept or reject V simply on the basis of the Guy Fawkes mask the person wears.  The way that the mask has a smile on it with rosy cheeks belies the violent potential of its wearer.  This acceptance of the mask, despite its unknown variables, demonstrates its power.  This easily sketched mask has become an icon and ideological flag for resistance to any perception of a flawed establishment.  The high regard that this mask has garnered among V readers and the general public is evident by its recent usage in the "Occupy Wall Street" protests and its banishment in eastern nations, such as Saudi Arabia (Lush).  The prospect of this mask embodying an ideological standpoint is addressed as Slavoj Zizek's essay on the term:
The premise that ideology is . . . only a system which makes a claim to the truth -- that is, which is not simply a lie but a lie experienced as truth, a lie which pretends to be taken seriously . . . . It is no longer meant, even by its authors, to be taken seriously -- its status is just that of a means of manipulation, purely external and instrumental (Zizek).
Therefore, the powerful mask is the catalyst that creates a persona for V to engage in the manipulation of "liberating" society.
         In the context of Freud's theory, V should serve to be manipulative, as that is essentially what the ego does with defense mechanisms, in order to regulate the two drives of the id and superego (Berk 15).  For example, the person can employ the ego to create humor within a sad event to manipulate and lessen the drive of the emotional id and return to a more balanced state.  Unfortunately, V delves into the other drives for too long and initially invests too much with Evey, yet the time spent in opposition to Susan of Norsefire leads V astray from his function as the mediator.  V unwaveringly fights against the establishment.  Even if there is a seemingly methodical approach, there is no true reason in revenge, only rage, regardless of how nicely it is masked in an illusory redemption.  V's aim may have some justice in it, but there is unending violence as well, which seems to stem from V's experiences at Larkhill.  V may be deflecting his rage from one setting onto his revenge toward another--clearly, transference.
         V desires to stretch his influence, but in some cases, experiences unanticipated conflict. From the guards to Valerie's letter, V is imitating what is presented, which in turn V imitates for Evey.  This function is presented as that of children within the primary stage of intersubjectivity, the way one understands and relates to another.  In this first stage, there is little beyond regurgitating what is shown or taught by another, according to Rochat.  He argues that "mirroring, imitative and other contagious responses . . . gives way to first signs of reciprocation" (Rochat).  As Evey is initially portrayed as childish, V's interaction with her is, in this context, shallow and meaningless.
         Furthermore, V is eventually transformed into something he despised by having groomed Evey to inherit his role, the establishment and a cycle that will prevail over individuality.  V may have embraced anarchy over justice, but he is incapable of avoiding becoming another Susan, someone who issues orders with a presumed control over another.  Even the "Viking burial" hints at this shift, as the word "Norse" in Norsefire is explicit and has association with Vikings.  The roses that surround it also reinforce the idea that V surrendered to the system he despised as the roses were grown to be presented to V's enemies (260).
Yet, V's ideology is vested in the literal mask, the lie, the label, and the hope that it appears to offer its wearer.  The eyes of V's mask are closed in a somewhat jovial or laughing appearance, which could potentially resonate that V, and perhaps even Moore, are laughing at those who decide to wear it in hopes of providing freedom for others to follow, while unknowingly embracing anarchy.  This lie proposed as a truth is employed in the mask's appearance.  Since the eyes are closed, there is an implied blindness that V and anyone who wears the mask will suffer; therefore, the cause of V is one that does not accurately see the true harm that may occur.
         V's mask essentially becomes his face, which reflects Scott McCloud's idea: "You see it [a realistic face] as the face of another.  But when you enter the world of the cartoon--you see yourself . . . The cartoon is a vacuum into which our identity and awareness are pulled . . . we don't just observe the cartoon, we become it!" (36).  With this perspective, it is necessary to envision one's own identity onto a character, creating a strong link between the physical and mental processes.  In keeping with this element, the other characters who have defined faces, Almond, Finch, and even Evey, may not be as appealing.  Furthermore, as V's identity, sex, ethnicity, and age are all masked, the reader is intrinsically able to embody this revolutionary figure.  This blank slate that is intelligent, driven, cultured, kingly, and powerful allows for one to slip on the Guy Fawkes mask and escape into devotion to a cause.  Whether the purpose is heroic or not is negligible when one wears V's mask--as these ideals that stem from persecution lead to reformation.
This is most notable in V's protEvey.  The sixteen-year-old impressionable girl is rescued by V and lured into V's world with the kindly false smile and shut eyes.  She is brought into a world that awes her with culture, music, dancing, and an escape into an eventual devotion to V.  She even wears the mask after V has died, continuing the cause she was groomed and doomed to inherit (Moore 248).  Thus, the mask has a new wearer, and the cycle continues.
         Because Alan Moore created the mask-wearing protagonist in V for Vendetta, it is important to consider that he may have used the mask as a minor detail.  However, over time and through analysis, the mask has been elevated to a higher concept even serving to further analyze the non-mask wearers with similar concerns.  When Moore makes a conscious effort to create a masked character who never removes the mask, not even for the reader, he is, for some thought-provoking reason, issuing a challenge to his audience.
         }It is the man or woman behind the mask that matters more because such a character allows the reader to become the character.  The non-masked characters, such as Evie and Susan, so heavily imprint their character traits onto the text that the reader is kept at a distance.  However, with the masked character, the reader is better able to theoretically bring his or her own personality to the plot.  In consideration of Freud's psychoanalytical approach, the reader would be better able to relate his or her own ego to the character of V's ego.  Because Freud's conflict theory proposes that when a person is in line with ego balance, it creates the preferred or best state of being, one can see V's flawed response.  He wears the mask throughout the entire book and fails in his purposes, thereby failing the overall narrative when conforming to the antagonist's ideology rather than furthering his own objectives.
         Ultimately, Alan Moore's created universe remains flawed despite the characters' persistence toward intelligence and morality, and it is the reader who inherits the choice of what one would do when faced with similar decisions.  Fortunately, the decision may be unmasked and informative if the reader applies Freud's conflict theory, thus convincing the reader to make different choices than those of the doomed, masked character, V.

Works Cited

Berk, Laura. E. Development Through the Lifespan. Ed. Jessica Mosher. Boston: Pearson, 2010. Print.
Greenblatt, Jordana. "I for Integrity: (Inter) Subjectivities and Sidekicks in Alan Moore's V for Vendetta and Frank Miller's Batman: The Dark Knight Returns." ImageTexT: Interdisciplinary Comics Studies. 4.3 (2009). Dept. of English, University of Florida. 11 Dec 2013. 
Lush, Tamara and Verena Dobnik. "Occupy Wall Street: Vendetta Masks Become Symbol of the Movement." Huffington Post. 5 Nov. 2011. Web. 10 Dec. 2013.
McCloud, Scott. Understanding Comics. New York: Harper Collins, 1994. Print.
Moore, Alan. V for Vendetta. Ed. Karen Berger. New York: DC Comics, 2005. Print.
Rochat, Philippe, and Cldia Passos-Ferreira, and Pedro Salem. Three Levels of Intersubjectivity in Early Development. Dept. of Psychology, Emory U. Web. 10 Dec. 2013.
Zizek, Slavoj.  The Sublime Object of Ideology. New York: Verso, 1989. 28-30. Print. "Cynacism As a Form of Ideology: Slavoj Zizek." The European Graduate School. Updated. 10 Dec. 2013. Webpage. 10 Dec. 2013.