This thesis offers an analysis of the construction of the identity of the main character in the graphic novel V for Vendetta (2005), written and drawn by English comic artists Alan Moore and David Lloyd. Aiming to go beyond the approaches that seek to isolate the character under the usual perspective of a terrorist and/or anarchist figure, this study intends to examine him/her through multiple lenses, highlighting that the many contexts that this hybrid narrative evokes directly influence the construction of his/her identity. Therefore, the text is structured into three analytical moments. Firstly, the study emphasizes the different textual layers present in Moore and Lloyd's narrative and its relationship with the classic dystopias of the last century, as well as with the graphic novel Watchmen (2022), based on the idea of intertextuality proposed by Julia Kristeva (2005). It uses Tom Moylan’s (2016) and Gregory Claeys’s (2017) theoretical support to outline a brief genealogy of dystopia and its intersections with the verbal-visual text under discussion. Thus, regarding the analysis of visual elements, although permeating the entire work, this chapter highlights the theorizations by Will Eisner (2010), Scott McCloud (2005), Thierry Groensteen (2015) and Daniele Barbieri (2017). The second moment concerns the main part of the study, that is, specifically the process of constructing the identity of the masked figure, looking for theoretical support in Stuart Hall (2020) to discuss the fragmented and transitory characteristics of the subject of postmodernity, which can be perceived in V. In this sense, taking into account his/her recurrent changes in nature and attitudes, which follow heroic and anti-heroic paths in the same journey, Joseph Campbell (2007) contributes with an approach to the origins and development of the classic and model hero, while Victor Brombert (2004) and Mario González (1994) support the concept of the antihero in literature. Pulling and highlighting still one more thread of this semantic quilt with which the character is covered, that is, the way in which he/she deviates from the norm with regard to gender and sexuality, this analysis is anchored in the studies by Judith Butler (2010) and Annamarie Jagose (2017) about queer theory, problematizing the variable construction of identity. Jamie Heckert (2011), in turn, lays the foundations for the examination of the relationship between anarchism and sexuality. Finally, in the third section, a comparison is made between the comic book and the film version. Using the argument of the first part regarding the ties between the analyzed work and the dystopian classics of the 19th century, this third analytical moment adds that despite these intersections, V for Vendetta can be read as a critical dystopia, given its formal structure and political direction. Theoretical support regarding this literary genre and its nuances of utopian horizon and militant pessimism is sought in Tom Moylan (2016) and Raffaella Baccolini (2000; 2003).