Moore helped prove that graphic novels could be a vehicle for sophisticated storytelling. With 'Watchmen,' a multilayered epic from 1986-87 (illustrated by Dave Gibbons) about a team of superheroes in an era of rampant crime and nuclear paranoia - and again with 'V for Vendetta' (illustrated by David Lloyd), published in America in 1988-89, about an enigmatic freedom fighter opposing a totalitarian British regime - Mr. Moore has never been shy about expressing himself.

To him, the movie adaptation of 'V for Vendetta,' which opens on Friday, is not the biggest platform yet for his ideas: it is further proof that Hollywood should be avoided at all costs. Moore's account of his career, the villains are clearly defined: they are the mainstream comics industry - particularly DC Comics, the American publisher of 'Watchmen' and 'V for Vendetta' - which he believes has hijacked the properties he created, and the American film business, which has distorted his writing beyond recognition. 'I don't want anything more to do with these works,' he said in a recent telephone interview, 'because they were stolen from me - knowingly stolen from me.' Moore had his way today, his name would no longer appear on almost any of the graphic novels with which he is most closely associated. Moore, a 52-year-old native of Northampton, England, distinguished himself as a darkly philosophical voice in the medium of comic books - a rare talent whose work can sell solely on the strength of his name. With inventions like these, and a body of writing that spans nearly three decades, Mr. THE most vivid characters in Alan Moore's graphic novels are antiheroes of ambiguous morality and identity: costumed avengers like Rorschach, the disturbed street vigilante of 'Watchmen,' or the crusader known only by the letter V, who commits catastrophic acts of terrorism in the dystopian tale 'V for Vendetta.'

V de la vendetta alan moore