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What was it like to work with Alan Moore on ‘V for Vendetta’? How much of Moore is the persona versus the person?

A lot of Alan’s persona is a deliberate build. I worked with him in the early days of both our careers, and we worked well together, from a base of common influences and a common passion for the kinds of stories we wanted to tell.

How did you come up with the idea of the design for ‘V’? What do you feel about groups that are using the mask?

Everything about it arose from giving him the costume and appearance of the character he was a resurrection of—Guy Fawkes. The mask is a stylization of his features. And I’m very happy that the mask is used by any group sincerely opposing a perceived tyranny. And it’s an all-purpose symbol too, for any resistance, anywhere.

When working on ‘V for Vendetta’, did you expect it to become the cultural phenomenon it has become today?

No, but we knew we wanted to say something with it—it had a message. And effective messages are often long-lasting and make an impression outside their medium.

Do you feel people focus too much on minute details—the design of the mask or the character—and are missing out on the big picture?

As far as I’m aware, the big picture of what V is about gets to most folks who can understand it—but I’m happy if people see it in a simpler way for its entertainment sake alone. It’s layered enough to cater for differing reader needs.

Have you seen the ‘V for Vendetta’ movie? Did you like it?

I describe it as another version of V because of its departures from the original. But it’s a powerful movie with great performances, and it spread the core message of V to a much wider audience than would ever have seen it otherwise.

Lloyd’s latest work Aces Weekly, which has been voted Best Digital Comic of 2013, can be viewed at www.acesweekly.co.uk.

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