Read From Hell by Alan Moore Eddie Campbell Pete Mullins Online


"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Wh"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Whitechapel murders of 1888. Weighing in at 576 pages, From Hell is certainly the most epic of Moore's works and remarkably and is possibly his finest effort yet in a career punctuated by such glorious highlights as Watchmen and V for Vendetta . Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. His Ripper's brutal activities are the epicentre of a conspiracy involving the very heart of the British Establishment, including the Freemasons and The Royal Family. A popular claim, which is transformed through Moore's exquisite and thoroughly gripping vision, of the Ripper crimes being the womb from which the 20th century, so enmeshed in the celebrity culture of violence, received its shocking, visceral birth. Bolstered by meticulous research that encompasses a wide spectrum of Ripper studies and myths and coupled with his ability to evoke sympathies in such monstrous characters, Moore has created perhaps the finest examination of the Ripper legacy, observing far beyond society's obsessive need to expose Evil's visage. Ultimately, as Moore observes, Jack's identity and his actions are inconsequential to the manner in which society embraced the Fear: "It's about us. It's about our minds and how they dance. Jack mirrors our hysterias. Faceless, he is the receptacle for each new social panic." Eddie Campbell's stunning black and white artwork, replete with a scratchy, dirty sheen, is perfectly matched to the often-unshakeable intensity of Moore's writing. Between them, each murder is rendered in horrifying detail, providing the book's most unnerving scenes, made more so in uncomfortable, yet lyrical moments as when the villain embraces an eviscerated corpse, craving understanding; pleading that they "are wed in legend, inextricable within eternity". Though technically a comic, the term hardly begins to describe From Hell's inimitable grandeur and finesse, as it takes the medium to fresh heights of ingenuity and craftsmanship. Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. --Danny Graydon...

Title : From Hell
Author :
Rating :
ISBN : 9780861661411
Format Type : Paperback
Number of Pages : 576 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

From Hell Reviews

  • Fabian
    2019-06-10 14:27

    An outstanding achievement. I am in deep awe of the many components that make up this complex, riveting work of ART. First off, the illustrations are opaque and shimmery, raw and delicate, fierce and even bittersweet. The Jack the Ripper story involves different angles, & they're all portrayed here in inspiring detail. Stories and sub-stories, like molecules and atoms, arrive at a fever pitch several times in the narrative, & it really is a roller-coaster of the macabre, of the surreal, and of authentic late 20th century artistry. "From Hell" belongs in a frickin' museum!

  • Oriana
    2019-05-30 13:50

    This was #17 for Jugs & Capes. I hated every goddamn minute of it.I hated the cramped, schizophrenic writing that made my eyes cross. I hated the stark, sketch-y drawing that were so vague you couldn't ever tell who was who. I hated the gore and the period-"appropriate" racism and classism. I hated all the characters—the flippety-gibbet women and the cold cruel calculating men and everyone in between. I hated the inexplicable worlds-within-worlds twistiness of the myriad occult subplots. I hated the bleakness. I even hated the massive heft of the goddamn book itself, which was impossible to hold comfortably in any position, especially outside on my stoop, especially on the subway, especially anywhere except I guess sitting in a massive velvet armchair in some vast dark-wood-paneled drawing room where rich white men drink sherry and chortle over their monocles. Or something like that, I don't fucking know. Alan Moore is a very insane man, and although I was blown away by Watchmen, this book made me never want to read anything else he's written ever again. I'm not totally sure I even finished it, although I do think I remember some very unsatisfying closing scene with two old dudes on a bluff talking about how no one ever found out what they'd done? Did that happen? I don't fucking know, it's two years since I read it and I think I blocked most of it out. Fuck this book, is what I'm saying.

  • Hannah Garden
    2019-06-02 18:23

    Uh-oh, I think I like comic books now . . .

  • Trish
    2019-06-14 15:42

    This is the second graphic novel by Alan Moore that I've read. He is a very prolific writer, but sometimes he's a bit too over the top for my taste. It was OK in V for Vendetta though I must admit to liking the movie a bit better because it was more grounded. With From Hell, once again, I've seen the movie before having read the graphic novel and although the movie features Johnny Depp and a lot of opium, I liked that one better as well.Why? Rather simple: the movie was a mystery with the watcher having to investigate along with the inspector. Here, we get the solution to it all right off the bat and it seems like wasted potential.This graphic novel tells the story of the murders committed by one of THE most well-known serial killers of all time: Jack the Ripper. There are many theories out there (I actually have a Mammoth Book about it because I find it so intriguing) and some of those theories are a bit more "out there". One particular conspiracy theory revolves around one of Queen Victoria's heirs having fathered a child and married a commoner, which was inconceivable back in the day (funnily enough, it still is rather unusual with the remaining royals nowadays which made Princess Diana become such a star *rolls eyes*). Anyway, since Albert is the heir to the English throne, this is unacceptable and Queen Victoria orders her physician to handle the subject. And let me tell you, he wasn't gentle about it. (view spoiler)[After having put her in a madhouse, he messes with the poor woman's brain so that she really is confused. (hide spoiler)] But the plan has a flaw because there are other people who know about the child and these women, prostitutes, try to blackmail the prince's friend because they are getting harrassed by a street gang and need money to survive. Thus, the doctor is dispatched once again and goes about the grizzly work we know of.I won't say anything about the ending, but the police (or some levels at least) knew about the plot and were paid to play along, and the killer becomes more and more psychologically unstable. That in itself is all well and good and even realistic (except for the fact that the Queen probably would have had a different way of dealing with something like this), but all the Masonic bits, the visions of the future etc were too trippy for me.Because yes, the good doctor is not only a lord and friend to the Queen, he's also a Freemason and trying to block the influence of the Illuminati by murdering women in a grizzly way. It's all a bit bonkers.The art is ... not to my taste. The black-and-white is OK and I get that the rudimentary and blunt style is a tool to convey a message of its own; it shows the grittiness of life if you weren't in certain social circles, illustrates the depravity of certain people and the downward spiral the Ripper takes psychologically. The panels are very graphic where sexuality is concerned (female and male body parts are shown explicitly). Both author and artist don't hold back and most in the story is somehow tied to sex. I don't mind this at all since we are following the lives of prostitutes and I don't like taboos anyway, thus I don't faint when seeing a penis depicted anywhere. No, my "problem" with the art is that I just don't find it "pretty" (attractive might be a better word to say what I mean). Nevertheless, this is an ambitious and good piece of work and it deserves all the recognition it's gotten over the years.

  • Brad
    2019-05-20 18:42

    A story doesn't have to be factual to be true, and I don't think I have read a truer story in any form than Alan Moore's From Hell.At the heart of the tale is Jack the Ripper. It is the truest telling of Jack the Ripper that I've ever read. It matters not a whit whether Dr. William Gull is actually Jack the Ripper. Nor whether Queen Victoria set the ball rolling with her orders. Nor whether Abberline actually fell for one of the prostitutes. Nor whether the Freemasons had their hands all over the deeds in Whitechapel. Nor whether Druitt was sacrificed to keep the peace and maintain power dynamics. Nor whether Sickert was involved. Nor whether industrialized, fin-de-siècle, London was our clearest real world dystopia.What matters is that Alan Moore's writing and Eddie Campbell's artistry uncover a deep emotional and philosophical truth about the reverberations of the smallest actions in the world. The smallest and the biggest. What matters is that they recognize that their tale is nothing more than a tale told from their perspective. What matters is that they painstakingly researched anything and everything that had to do with that autumn in East London, that they rode every ripple from the epicentre no matter how far it took them in time and space, that every decision they made was conscious, and that the sum of that conscious work offered a hyperreality of that definitive event in the life of London that encapsulates the beauty of our existence within the ugliest of events. That is the truth they uncovered: the beauty of living in the ugliest of circumstance.Theirs is an astounding achievement that transcends the graphic novel medium. It is not simply the greatest graphic novel ever written (though it is that), it is also one of the greatest five stories I have ever read. I would put it up there with Hamlet and Gravity's Rainbow and The Outsider and Wuthering Heights (forgive me this list ... I've not read some others that are undoubtedly great and perhaps deserving of my praise).From Hell is not for the delicate of heart. I demands work. It demands that you stare at the horror and not simply turn the page with a desire to get past the horror because Moore and Campbell demand that you engage with the horror and cut deep, to the bone, to discover what it is that makes us terrible and wonderful.The changes this masterpiece (superior to Watchmen and The Killing Joke and V for Vendetta) have wrought on storytelling, on the comic form and even on me are unclear at the moment. But they will be real, and with the benefit of hindsight they will be traceable to From Hell.

  • Bradley
    2019-05-19 14:36

    I'm torn on this one. I mean, sure, it's Jack the Ripper and Alan Moore and it's supposed to be this grand masterpiece, but to me it just feels mostly like some kind of disjointed hodge-podge collection of personas that simultaneously lift up and denigrate both the East Side women and everyone else, nearly randomly, until much later in the comic when things finally tie together into a mystical extravaganza that is both surprising and feeling rather out of place.What do I mean? Well, throw out the movie version, for starters. Keep the bits about William Gull, REALLY emphasise the importance of Masonic conspiracy theories and the connection to the crown, and then, after you're thoroughly grounded in all the blood and gore and the feeling like nothing really matters, top it all off with a dose of Alan Moore's more odd explorations in the human psyche and/or WOW mysticism.Fortunately, I've read Jerusalem. From Hell goes there, serving as a freaky introduction to life without time, magical incantations, demons, and the power of location upon magic.This part is worth all the apparent slog of most of the rest of the comic. (At least for me, but I love literature of ideas and oddities and complex plots.)Will people hate me if I was rather bored with long segments of this story? That I only really started perking up to it with Gull's becoming Virgil? Still, in the end, I really liked it and I thought it was rather cool how all the well-researched conspiracies tied it back in. I did, however, have a hell of a time with reading the text. It hurt my eyes.

  • Carol
    2019-06-06 18:41

    "This is the house that Jack built".......ends the first chapter.FROM HELL by Alan Moore is a monster of a hard cover (comic) book depicting the gruesome Whitechapel murders committed by the notorious Jack The Ripper and investigated by Scotland Yard in the late 1800's.While a work of fiction, this book includes a greatly expanded and detailed Appendix with factual notations as well as educated speculation (from the author) for each chapter and a period map of London giving the reader much food for thought.But BEWARE........Visually morbid and x-rated illustrations of various sexual acts including autopsies and dissections are pictured throughout the story.Bang-tails (whores).....Blackmail.....Treason.....and scandalous activities combined with the evil doings of the Freemason Brotherhood come together to tell Jack's bloody story of butchery. 4.5 Stars

  • Belarius
    2019-06-14 14:20

    From Hell is a brick of a book by legendary author Alan Moore. It presents one theory (since discredited) about the Jack The Ripper killings, and in so doing presents us with the story from every conceivable angle. The result is an exhaustive (albeit fictional) account of a sweeping slice of Victorian landscape.From Hell is dense, multi-layered, and overflowing with an obsessive connect-the-dots tone that fancifully associates the events to everything from Aleister Crowley's childhood to Hitler's conception. The murders are, of course, the central events of the book, and are depicted as an elaborate Masonic ritual by the killer (with pages and pages of Masonic theory to boot), but devotes considerable time to even the minor characters, a sort of pantheistic character study of an entire society.There is little doubt that From Hell is a "great work" from a strictly literary perspective. Its devilish intricacy and boldly experimental approach make it a pioneering achievement. At the same time, it is not an enjoyable read. Setting aside for a moment its most uncomfortable moments (most notably a gruesomely detailed depiction of every step involved in the Ripper's most famous killing), large patches of the text are dull and technical. Other tangents, presumably included for "completeness," seem superfluous and distract from the central focus of the story.Making matters worse is the artwork of Eddie Campbell, which can kindly be called "pen-and-ink impressionism" and less kindly be called "chickenscratch." Apart from robbing much of the story of the shading a black-and-white style needs to really breath, it also often makes it extremely difficult to recognize characters. Readers must depend on gross physical characteristics (weight, facial hair, outfit) to keep track of which character is which in many cases.Ironically, the best part of the book is an appendix comic-essay called "The Dance of the Gull Catchers," which explores the difficulty of studying the history of the killings. Moore and Campbell also provide an exhaustive overview of which parts of the story are fictionalized and which have some basis in reality, an exceptionally rare move in historical graphic fiction.On the back cover, Moore states, "For my part I am concerned with cutting into and examining the still-warm corpse of history itself." This, we can all agree, he has done. The sad truth, however, is that this examination, while epic and masterful, still isn't especially rewarding to watch.

  • J.G. Keely
    2019-05-28 10:50

    Ripperology is a mess of theories and conspiracies, an impossible puzzle which obsessive writers turn into narratives that tell us more about the author than about crime or murder. Moore knows this as well as anyone, pointing out in his afterward that the whole thing has become a silly game, a masturbatory immediately recognizable to anyone familiar with discussions on the levels of Star Wars canon or Gandalf's particular racial background.I read this not with a notion that by the end I'd come to understand the ins and outs of the Ripper case, but to witness yet another of Moore's masterful deconstructions of the stories we like to tell ourselves. If the story had followed the approach laid out in the afterward, I'd be writing a much different review today, one about the presentation of truths and untruths, of allowing the narrative to deconstruct itself, to fall apart while at the same time drawing ever closer to some fundamental truth about storytelling, about our need for stories, our urge to make patterns out of nonsense.That is an approach I'd expect from Moore--but Moore's presentation here is altogether too precise, too small, too lucid to really capture the grand mythology of The Ripper, a figure larger than any one story, any one account. There are a few excellent moments that draw this simple little story out of itself: strange glimpses of the future, a recognition of an age that is dying (which is in fact about to be brutally murdered, its blood flowing through the gutters of all the great cities of Europe) but these threads are not fully explored. They are secondary to the neatly tied-up story, rather than its nebulous core.The long chapter where the killer wanders the city, explaining all the little particulars of his madness, was less than I have come to expect from Moore. Such a lengthy and unbroken piece of naked exposition detracted from the notion that this was a story at all. As a reader, I want to be shown ideas, I want them to dance before me in all their permutations, then gradually coalesce into something more--a task which I know is not too great for Moore. Instead I received a lecture. Never have I known Moore to do so little to take advantage of the unique physical capabilities of the comic medium.I also found Eddie Campbell's artwork terribly disappointing. The Mid- to Late Victorian is the single most fruitful period in the history of the pen and ink drawing style. Everything that we have done since then is merely a rehash of the pure variety and invention developed by those artists. One can study the art of the period to the exclusion of all else for a lifetime, and after fifty years, still keep discovering new masters, new styles and forms you've never even heard of before--an embarrassment of riches fathomless to plumb.With so much to choose from, so much material from which to take inspiration, I was nonplussed by the sketchy, lackluster lines chosen define this story. The sense of individual characters is simply not there--instead we tend to see the same faces and forms, over and over. There is little sense of form or gesture, flow and movement are lacking, and worse, the stark balance between the white and black spaces--the very power of pen-and-ink work--is absent.The anatomy is particularly slipshod--especially when aping a period when anatomical precision was such a central, defining aspect of art. I don't merely mean classical forms--the Victorian was also notable for stylized caricatures, as in Punch's--but there still must be a precision there, a delineation of lines, a purpose within the artist's hand. I understand the concept of an unsure, muddy world, a world of the past, seen through a thousand conspiracy theories and lies, but that thrust of history must still be presented with a sense of forcefulness, a trajectory--or better yet, many trajectories.I think of Duncan Fegredo, the greatest living comic artist, and his work on Peter Milligan's remarkable Enigma: it was slipshod, loose, and fluid, refusing to be confined, yet it still managed to be forceful, impressionistic, and vividly alive. Some of Campbell's panels are better than others, reaching a height which would have easily carried the book, but alas, the common lot is of (literally) shaky quality.That is the visual form I would have hoped for here, but overall, the work seems to be a case of good ideas lacking the execution to match them. Moore's concept was beautifully grand and imprecise, but the end result was a narrative much too narrow to hold it. Contrarily, Campbell's art was too broad and nonspecific to capture the weight and thrust of history--even if it is an invented history.My Suggested Readings in Comics

  • Jason Pettus
    2019-05-29 15:20

    (Reprinted from the Chicago Center for Literature and Photography []. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally.)So in what I think is a first since opening CCLaP last year, I got a chance recently to not only read a book for the first time but also watch a movie based on it for the first time in the same week; in this case, it was the "Jack The Ripper" conspiracy tale From Hell, with the original 1999 graphic novel by Alan Moore and Eddie Campbell and the subsequent 2001 movie version by Allen and Albert Hughes, known professionally as The Hughes Brothers. I thought it'd be fun, then, to take a cue off the Onion AV Club's "Book Versus Film" essay series, and write one review encompassing them both; I'm not expecting this to happen very often in my life, though, so don't hold your breath waiting for this to become a regular series.And indeed, the only reason I took on the original graphic novel in the first place is because I'm a big fan of Moore's, with this for example being the fifth full-length project of his I've now read (after Watchmen, Miracleman, V For Vendetta, and The League of Extraordinary Gentlemen); and the reason I'm such a big fan of Moore's is because he is one of the most complex writers in the history of the comics format, penning project after project that not only have the gravitas of a traditional text-based novel but that perfectly exploit why they could only be published as comic books anyway. And in fact From Hell is yet another good example of what I'm talking about; set right before the turn of the 20th century, in the waning years of the Victorian Era, it relies as much on the pacing of the graphic boxes on each page as it does on the plot itself, with Moore deliberately breaking the story at certain points precisely because of knowing that it's where that page will end in the finished book.Taking place in a grimy, crime-filled East End London, like I said this is Moore's take on the infamous Jack The Ripper legend, the notorious serial killer from the late 1800s who was famously never caught nor even identified; and this being Moore, of course, his take on the whole affair is a complicated and fantastical one, a grand conspiracy involving the royal family, an illegitimate child, the Freemasons, a respected surgeon who doubles as a violent psychopath, brain strokes misinterpreted as religious visions, Medieval Christian churches whose architects snuck pagan references into the plans...oh, and a little time travel to boot, just in case Moore hasn't screwed with your head enough at this point. In fact, the more you read the massive From Hell (which, be warned, is almost 600 pages long), the more you realize that the Ripper story isn't really the main reason Moore even wrote this in the first place; this is more of a dark love letter to the city of London itself, one of the bastions of Western civilization and a place so steeped in history according to Moore that you can almost taste it while there. Like many of his other projects, Moore's main theme here in From Hell is actually the complex and hidden patterns that are layered one by one by society onto history, of how these overlapping patterns both work in tandem and against each other, and how in a place like London it results in a 3,000-year-old matrix of power and magic, full of "hot spots" around the city where literally dozens of important events have all transpired over the centuries.Ah, but then this delicate web is handed over to The Hughes Brothers (Menace II Society), and things start falling apart alarmingly fast; there's a reason, after all, that this was the movie to make Moore famously declare that he will never again in his life sell the film rights to any of his future projects. Although to be completely fair, the problem is not really with The Hughes Brothers per se (although as directors of the project, they are the ones ultimately accountable for the finished film); no, the real mess starts right off the bat with the muddled, messy script by Terry Hayes and Rafael Yglesias, who surprisingly enough have a number of solid movies in their pasts (including Death and the Maiden, Payback, and Mad Max: Road Warrior), so you would think would know better. For example, the character Johnny Depp plays in the movie version is in actuality an amalgam of three different characters from the original book -- a policeman, a psychic, and a crazed opium addict -- not to mention that in the book, these three characters are supposed to not like each other, with personalities that naturally clash against the other two. Then add the fact that in the book, the psychic is actually fake, and admits so right on page 2 of the manuscript; in the movie, however, Depp's psychic visions are supposed to be real, brought on by the massive amounts of opium he is constantly smoking in seedy Chinatown dens, yet with all of this being suspiciously tolerated by his bosses at Scotland Yard.It essentially turns the film version of From Hell into a schizophrenic disaster, a movie that can't decide if it's a fact-based police procedural, a horror movie with supernatural elements, or the Hollywood version of a historical thriller (i.e. the Victorian prostitutes are way too hot to be actual Victorian prostitutes). Say what you will about Alan Moore's writing style (which I admit can get awfully overblown at points, especially when he was younger), but at least he is a master at putting together a sharply focused yet wildly digressive story, and smart enough to understand how two such seemingly competitive elements can actually complement each other when done in the right way. It's a lesson that completely eluded the group of people responsible for the movie version; and that's why the book version of From Hell is ultimately so brilliant, and why the film version is ultimately so terrible.Out of 10:Book: 9.0Movie: 4.5

  • Bradley Timm
    2019-05-16 15:46

    I find this book to be criminally overlooked; whether its relevance to the god awful adaptation by the Hughes Bros. has anything to do with it or not. Here is what I consider to be Alan Moore's personal best work. When I finished "From Hell" I had a profound, inescapable feeling that I just learned something very important about mankind and human nature on such a level that it was difficult to quantify. The work is at once clinical, unsympathetic and uncomfortable, yet these reactions are so intense that one can only approve of Moores effective allegories. In choosing to employ the retro illustration style of artist Eddie Campbell served to compound the authenticity of his time-warp to the gritty streeys of London in the 1800's. The story itself is an examination of the world through the educated dimentia of Jack the Ripper, who manages to make compelling, if not twisted, arguments for his double life as both a respected Physician of high society, but a murderer and mutilator of woman in the world first profession. One could teach a short course on "Moore's" thoroughly researched gift to contemporary literature, but I'm content just highly recommending it to adventurous readers.

  • Javier Muñoz
    2019-05-28 17:31

    Durante mucho tiempo he estado retrasando la lectura de este cómic, casi todo lo que escribe Moore es muy denso y From Hell tiene fama de ser el cómic más denso que ha escrito hasta la fecha, además el tema que trata nunca me ha llamado demasiado la atención y el dibujo de Eddie Campbell digamos que no es que atraiga a primera vista precisamente y luego está el tema de los apéndices, estoy harto de oir que son de lectura obligatoria, y a mi eso de interrumpir la lectura de un cómic para irme al final del tomo a leer las anotaciones del autor cada dos páginas no me gusta un pelo... el caso es que después de tanta reticencia al final me armé de paciencia y me puse con ello... y aquí estoy tres días después poniéndole cinco estrellas y con la cabeza explotada por varios sitios, este es uno de esos extraños casos en que mi experiencia con un cómic de culto supera las expectativas previas.From Hell es una reinterpretación más de los asesinatos de whitechapel de otoño de 1888, ¿otra búsqueda más de la identidad de Jack el destripador? en realidad no. Moore nos ofrece una posible solución a los crímenes, un posible culpable, pero en todo momento nos hace conscientes de que esto es simplemente un relato literario en forma de cómic, una historia contada tomando como base la información de la que dispone. En este relato entran en juego la casa real británica, los francmasones, múltiples elementos históricos y mitológicos, la ciudad de Londres como protagonista imprescindible, y un gran elenco de personajes, investigadores, testigos, victimas, cómplices... el trabajo de documentación de los autores es exhaustivo, aunque hay muchas partes del relato que son invención de los autores, todo tiene su justificación lógica basada en datos recogidos en múltiples trabajos de investigación escritos a lo largo de los años. Moore coge todos los datos en su poder y construye una historia redonda con múltiples ramificaciones y muchos elementos ocultos, mitológicos y esotéricos.En principio puede resultar un poco duro adentrarse en este cómic, en los primeros capítulos se nos exponen gran cantidad de personajes y sucesos entre los que no encontramos relación, muchos detalles que no adquirirán significado hasta más adelante... el punto de inflexión lo tenemos en el capítulo cuatro, en el que se nos ofrece un recorrido por el Londres oculto y mitológico, con la arquitectura de la ciudad como protagonista indiscutible, después de eso, la trama comienza a avanzar con paso firme y todas las piezas van cayendo en su lugar.Después de leer este cómic he de reconocer que aunque se pueda hacer un poco duro sobretodo al principio, la lectura de los apéndices me parece esencial para el óptimo entendimiento de la obra, es más, creo que lo mejor es ir leyendo los apéndices según se lee el cómic, en paralelo; nos dará una mejor percepción de los acontecimientos y los personajes, nos aportará múltiples anotaciones históricas y mitológicas, nos pondrá en alerta sobre detalles que se pueden pasar por alto fácilmente y sobretodo nos hará apreciar el gran esfuerzo de Moore a la hora de documentarse, este hombre no da puntada sin hilo.El dibujo de Eddie Campbell como digo en principio no es muy atractivo, pero refleja a la perfección la ambientación en el londres victoriano, sus gentes, las formas de vestir de la época y la oscuridad necesaria en una obra como esta... creo que el artista hace un gran trabajo y se nota la atención al detalle y el esfuerzo por ofrecer un retrato veraz y fiel de la época.

  • Rory Wilding
    2019-05-24 15:29

    Although he has been radical with his comic book work, Alan Moore has been dragged into the mainstream due to the fact that films have been made, based on his comics. This started with the 2001 loose adaptation of From Hell: Moore and Eddie Campbell’s graphic exploration of the Jack the Ripper murders. What we got from the Hughes brothers’ film is a visually impressive but predictable “whodunit” slasher. In the case of the source material – originally published in serial form from 1989 to 1996 and collected in 1999 – it is a different beast altogether.When Prince Albert Victor, Duke of Clarence marries and fathers a child with a shop girl in London's East End, Queen Victoria becomes aware of the marriage and has Albert separated forcibly from his wife, whom she places in an asylum where the queen’s royal physician Sir William Gull is instructed to impair the wife’s insanity. After resolving this potentially scandalous matter, Gull begins a campaign of violence against Annie’s friends who are a group of prostitutes, thus donning the Jack the Ripper persona as conceived by the British media.At this point in time, Jack the Ripper is more myth than man as there have been many theories over the serial killer’s identity, as well as being dramatized through different media over the decades; you could say he’s more of a fictional construct nowadays. In the case of From Hell, it is not about who the Ripper was, but really what motivated the Ripper. With a fictionalised Sir William Gull depicted as the murderer, the story centres on a highly educated physician with a love of quoting history committing the most gruesome murders in Victorian history, which he sees as his artistic masterpiece.Despite the central subject, From Hell is an ensemble piece which also explores other cultural angles within Victorian London, from the painter Walter Sickert who became a key figure in the modern art movement, to the prostitute which became an icon of the working lives of the impoverished and disenfranchised. The greatest achievement of Moore’s writing here is how cleverly positions the act of Jack the Ripper as the gateway into the 20th Century, with Gull even hallucinating the foreseeable future, ultimately losing his mind.Much like V for Vendetta and Watchmen, From Hell retains the traditional nine-panel grid. Known for his scratchy pen-and-ink style, Eddie Campbell captures the murkiness of Victorian London as he doesn’t shy away from the vulgarity that was happening at the time, from the pornographic sex to the surgical killings. Certainly the most graphic sequence of the book goes to Chapter Ten which depicts the final murder as the many panels go into great detail into how Gull dissected the victim, whilst at the time having visions of 20th Century architecture and technology.No doubt that this is a thick book and certainly requires a level of attention to examine every tiny detail, but it is benefit to Alan Moore who is always pushing the comics medium and with his exploration into what made the Ripper ticked, From Hell is a must-read as long as you can stomach it.

  • Anthony
    2019-06-05 11:33

    I bought this digitally from comiXology back in 2013 when it was on sale. I can't remember how much I paid for it (probably around £3/£4). And then it sat on my iPad for over year, unread and taking up space. One day, I decided to give it a go. I think one should approach this not as a comic, or even a graphic novel, but as a prose novel. It's a very dense read, and requires a lot of your time and attention. But I don't say this as a criticism. Once you get past the first 100 pages or so, it turns out to be a very fulfilling read. Painstakingly researched and crafted by both Alan Moore and Eddie Campbell, From Hell tells the tale of the White Chapel and Jack the Ripper murders. If you come to this after seeing the Johnny Depp film, you'll be in for a shock, as the original source material that the film is based on is much more layered and in depth and quite frankly a lot better than the Hollywood film.There's an appendix in the back which goes into detail of the research process Moore went into when writing the book.There's a lot of myth behind the Jack the Ripper killings, and at times it might be difficult for someone to tell what the difference is between fact and fiction, or if there's even a line between the two at all. Moore brings all the research together to tell a story that's enjoyable for someone who might not be well versed in the factual knowledge of the white chapel murders. I feel better for having finished it (after it, admittedly, taking me a while) and I think you will too.

  • Derek
    2019-05-17 13:44

    Ambitious, insightful, affecting, intricately mysterious, unnerving and unflinching in its brutality. This is the Jack The Ripper tale to end all Jack The Ripper tales. I didn't read the appendix/Commentary though. I feel that a clock looses a bit of its lustre if you open its face and see the mechanisms and cogs at work.

  • Jesse A
    2019-06-08 16:42

    Finally a Moore I enjoyed. One of the most dense graphic novels I've ever read.

  • David Schaafsma
    2019-05-26 13:29

    I'd read The Watchmen, and found it to be genius; V for Vendetta I liked very much as well (a pretty powerful and angry political allegory, though much less complex), and have read others by The Greatest, Alan Moore. But this is one of my favorite works of his. It is massive, incredibly ambitious, an erudite work of scholarship and passion, and yet it also feels like one of the most personal of his works I have read thus far. And yet it all took place a century and more ago: The Jack the Ripper story, in Moore's personal fictional view, highly influenced by his favorite theoretical Ripperologist, Stephen Knight, whose theory was largely dismissed and derided in the very process of Moore and Campbell's long construction of this remarkable tome. Before we go too far we have to mention the amazing art by Eddie Campbell, matching the scope and passion of Moore's enthralling epic conception. So how could From Hell be amazing and enthralling, since the perspective it takes is now largely dismissed? Because it is a terrific story, told terrifically. Whether it is true or not, it is compelling. It may be a tad long, one of the Moby Dicks of graphic literature, but I was truly engaged with it throughout. And though in black and white, it is still graphic (that serial murder thing, envisioned throughout). One reason it is interesting is that it is not a whodunnit, primarily; we know who Moore thinks did it from the beginning (as opposed to the terrible Hughes brothers film version, with Johnny Depp and Heather Graham, which maybe would have been an okay flick if it weren't also called From Hell, which then makes a complete mockery of Moore's version of events and his literary/philosophical perspective on the world. Most book versions of the Jack the Ripper, non-fiction and fiction, make a case, propose a theory, and Moore does this, too, as I've said, but not in "true crime" fashion. Moore provides literally HUNDREDS of pages of footnotes to show he has been researching this from every possible angle for several years, but finally plot or whodunnit is only a part of his interest. He reaches far beyond that to what the Whitecastle Murders seem to portend for the twentieth century in terms of Evil, Mad Violence, Genocide, Catastrophic Wars, sort of the End of Modernism, of the Enlightenment Hope for the Future. And the occult, always, for Moore,and feminism, and class, are backgrounds for him throughout and usually.He even admits his own crazy obsession with such events is his way of trying to make meaning of life and death and culture and media and politics and history. Finally, he admits we will never know whodunnit and he admits that that is not the point, for any of the Ripperologists. The point is obsession. Of trying to make meaning out of the shards of a single puzzling event. And cold cases are always the site of obsession.From Hell is macabre. It is real life horror, an early serial killing to welcome us to an age of ever increasing serial killings and multi-media obsessions with them. It takes a tale of murder and spins it into a rich work of art and historical meditation. Comics greatness, without question.

  • Jonfaith
    2019-05-17 14:44

    Mary Kelly was just an unusually determined suicide. Why don't we leave it there?Well, that was that. From Hell is overflowing with sublime images, there is also a strident lyricism to the prose, My appreciation for both was hampered by my bullshit alarm ringing incessantly. There's this London school of the subversive, to which Moore belongs: Iain Sinclair and Peter Ackroyd are also practicing partners. They parse and weave, finding anecdote and parallel in the accrued centuries of history along the banks of the Fleet and the Thames. The ancient grit and whispered airs both haunt and charge, maintaining spectral currents which cross the city. Everything from the Druids to Oscar Wilde to the Final Solution is duly linked. It does tax and test, but the assemblage is admirable, the loud warnings of a bus stop prophet. So much is recycled and applied elsewhere -- an conservation of totems, a self organizing oracle down pissy alleys amid take-away menus and lottery tickets -- therein lies the true eschatological -- away from the louche plastic of muggle money. Away.I have seen the film adaptation a number of times, so the arc was familiar. The detail revealed within the text was at times spellbinding, the sepia charm of gaslight and decomposition.

  • Ona
    2019-06-13 17:28

    DNF - I had to stop torturing myself. The art work was white/black OK I don't have the problem with that, but when in some frames you can not even recognize characters or read text properly. It makes you confused an uninterested in the story.

  • Saleh MoonWalker
    2019-05-22 11:45

    Onvan : From Hell - Nevisande : Alan Moore - ISBN : 861661419 - ISBN13 : 9780861661411 - Dar 576 Safhe - Saal e Chap : 1999

  • Tomáš Fojtik
    2019-06-10 11:39

    Po dvanácti letech znovu vyšel komiks Z pekla Alana Moora a Eddieho Campbella. Kniha, která byla beznadějně rozebraná, patří k základním dílům moderního grafického románu. Neodolal jsem tužbě zjistit, jestli je ta pověst zasloužená, nebo ne. Komiksový svět má asi málo větších legend než Alana Moora. Ten je podepsaný pod takovými díly, jako V jako Vendeta, Strážci nebo Liga výjimečných. Pokud někdo podává svou prací nepopiratelný důkaz o tom, že komiks nemusí být pouze pro děti, je to právě Moore. Možná i díky němu se komiksům začalo říkat grafický román, což je ovšem pouze má domněnka, kterou nemám podepřenou žádným argumentem. Grafický román “Z pekla” se odehrává za časů královny Viktorie na konci devatenáctého století. Těžiště příběhu je na ulici. Tam, kde prostitutky loví „třípencové“ klienty, aby měly peníze na jídlo a ubytování. Není to ale pouze svět lůzy, na který se zaměřila autorova pozornost. Důležitou roli v příběhu má i společenská smetánka, a to dokonce z nejvyšších pater anglické společnosti, respektive z patra úplně nejvyššího. Hrdina příběhu (přestože slovo “hrdina” v tomto případě je hodně, hodně mimo) je jistý William Withey Gull, lékař, kterého si anglická královna pozve, aby pomohl uchovat čest královské rodiny. Jak se dočtete v anotaci, příběh je o Jacku Rozparovači, z čehož si moudrý čtenář této recenze odvodí, koho autor románu za Rozparovače považuje. Teď se možná chytáte za hlavu, že jsem vám tu vyžvanil spoiler, ale není to tak. Totiž: pointa knihy není v tom, kdo vraždí bezbranné prostitutky, to se ostatně dozvíte hned na začátku. Pointa je v motivaci, v účelu toho celého běsnění. Dozvíte se také něco o historii Londýna (v páté kapitole, která je však spíš nudná, než záživná, na druhou stranu to dá celému příběhu novou vrstvu) a už nikdy toto město neuvidíte ve stejném světle, jako předtím. Mé první dojmy při otevření knihy byly takové, že to bude hodně temná jízda. A to jsem ještě netušil, jak moc. Nejde jen o to, že sám příběh je temnota sama, ale pomáhají tomu i Campbellovy kresby. Na první pohled mě vůbec nezaujaly, připomínaly spíš črty (navíc černobílé) než komplexní kresbu. Ale po čase jsem si uvědomil, jak mě právě tento styl přenesl do uliček pekelného Londýna. Na některých panelech je vidět, že kresba musela dát hodně práce, jakkoliv na první pohled vypadá jednoduše. Co mi při čtení vadilo, byla velikost písmen na některých panelech. Dostalo se mi vysvětlení, že do hotových layoutů (“bublin”) bylo potřeba napasovat český text včetně diakritiky, který zabírá více místa, než anglický originál. Zní to logicky, nicméně čtenářský komfort tato skutečnost moc nezlepší. Připravte se na to, že místy budete, při jisté dávce nadsázky, potřebovat lupu. Je to ale jen malá vada na kráse, ta je totiž jinak nesmírná a z grafického románu Z pekla jsem nadšený jako naposledy z Mause (a to už bude jedenáct let). Dostalo se mi rady, abych si po dočtení každé kapitoly nastudoval dodatky vzadu - jsou skutečně fenomenální. Nejen, že pomáhají pochopit načrtnuté souvislosti z panelů, ale osvětlují celý dobový i vědecký kontext. Jsou skutečně důležité a jsem rád, že jsem si je nenechal až nakonec. Doporučuji vám totéž. Přestože v románu Z pekla sledujeme jen jednu teorii o tom, kdo vlastně Jack Rozparovač je, nakonec to není tak důležité. Důležitější je příběh, který Alan Moore vymyslel, a který má vyfutrovaný logicky vypadajícími argumenty. Příběh ale obstojí, ať už tehdy ve Whitechapel vraždil kdokoliv. Je to příběh temný, až hororový. Uspokojí každého, kdo má rád prostředí viktoriánského Londýna, stejně jako toho, kdo touží po napětí s přesahem. Přesah je tu totiž hned do několika žánrů: Z pekla je současně detektivka, horor a templářský průvodce Londýnem. Hodnocení: 90%

  • Sud666
    2019-05-27 15:48

    Alan Moore's From Hell could rightfully be called a masterpiece. It is a large tome measuring in at 510 pages of story and 70 pages of annotated notes. It is the last part that truly imparts the tremendous amount of research Mr. Moore conducted on From Hell. Whether or not you will agree with his stated concept is the reader's choice, but do not let it prevent you from reading this wonderful work.From Hell tells a story on a vast canvas. That canvas is the Victorian Era of London. This book is not only a retelling of the Jack the Ripper crimes, but it is also a tour guide to Victorian London, it has social commentary on the rights of women and the rigid thinking associated with the Victorians. The feel of the story, supplemented by the grim but very appropriate black and white artwork, is one of the miserable, grimy, almost inhuman conditions of the poor Whitechapel slums and the posh, shining and obviously wealthy sections of London where the gentlemen and aristocrats lived.Moore puts forth the idea that Prince Albert, heir to the Throne, was having an illicit affair with a Whitechapel based prostitute. This affair results in a secret ceremony (where the Prince used a fictitious identity) of marriage and eventually in a child. When Queen Victoria finds out she has Prince Albert confined to the Palace and the wretched prostitute sent to Bedlam, the famous madhouse. Here we meet the brilliant Doctor and Freemason- Sir William Gull. Dr. Gull, operating as a loyal Freemason helps the Crown to cover up this delicate turn of events. Eventually local prostitutes figured out what happened to one of their own and threaten to tell the sordid tale of the Prince, the Prostitute and the Bastard. This leads to Queen Victoria's request to Dr. Gull to "deal" with the situation. Sadly Dr. Gull is a complete and utter loon. His solution and the subsequent police, media and local reactions are perfectly captured by the rest of the story as it unfolds. Mr. Moore's look at Victorian London shows all the myriad forces at work in creating the Jack mythos. Moore also depicts Dr. Gull as a beacon leading towards the new century. Sometimes in the midst of his orgy of destruction, Dr. Gull will project himself into the future and see's the modern world. Moore implies that it was Jack that ushered in this "new age".The art is completely done in black and white. Normally, I do not care for art that lacks detail but for this grim and dark story-the art just fits. Subtle touches such as depicting the Whitechapel slums as grimy and dirty by using an art style that emphasizes the shadows and the filth, whereas whenever he would depict the ordinary life of Sir Gull the art style was closer to a painted style which emphasized the opulence of the class of men such as Dr. Gull. The art also serves to frame the gory murders-which are recreated in this story slash by slash. Just a warning for the squeamish.From Hell is many things. It is a graphic novel, yet it is a great work of fiction as well. It paints a vivid and often brutally honest view of Victorian London. It is well researched and while the historical accuracy of the Dr. Gull scenario is often debated by experts, Mr. Moore's tale does not lack for plausibility. I would recommend this to a broad swathe of readers- from those who would appreciate a true work of art to those who are interested in the Jack the Ripper tale. A truly wonderful look at the genius of Alan Moore.

  • Richard
    2019-06-16 12:29

    Dense and rewarding graphic novel written by Alan Moore and illustrated in pen and ink by Eddie Campbell. The actual plot is gripping - especially from the middle to the end - but the story is also used as a jumping off point to discuss architecture, the nature of time, class, Masonry, and the transition from the Victorian to the modern era. There's an interconnectedness to time in From Hell that I thought was really interesting, which takes full advantage of the graphic novel format. Conversations and actions from the past and the future maintain an actual presence, influencing characters in the present. Past events ripple into the future and vice versa. The art is beautiful. Sometimes rough and expressionist, at times clean and poignant and, near the end, incredibly imaginative and abstract. Everything is thoroughly researched with sources and illuminations presented in the back.

  • Kathryn
    2019-06-15 18:23

    I was surprised that I didn't like it. Alan Moore, Victorian London, Jack the Ripper ... still, with all that, I had a hard time getting into it. I didn't like the art or even the lettering. Surprising how great a difference that made. Tiny panels, cramped print, murky and smeary black and white art: it just felt like a monotonous palette, at once over-detailed and sloppy. I could see using a limited palette, perhaps with accents of red, but the art itself or the reproduction needed to be crisper. I also thought there wasn't enough of a narrative to keep me engaged and sympathetic; various characters appeared and were butchered, but it felt more like death porn than a real story.

  • Matt
    2019-06-16 18:28

    I don't really know how to review this book, but I feel I need to. First off, it's the first thing I've read since Salem's Lot at age 13 that gave me nightmares. They weren't specifically related to Jack the Ripper, but I can't honestly say the mindset I was in afterward didn't put me in a nightmare-mood. The truth about this book is that the Ripper murders are almost tangential to the point of the work itself. The story, which is largely fictional though based on fact, is about the cover-up conspiracy to keep the true reason behind the Ripper murders from becoming public. It's not that it's true that matters, it's that it's possible. I realized, towards the end, that all of this probably didn't but easily COULD have happened, and that there were likely similar atrocities in our collective history that have not been as well-publicized as Jack the Ripper's reign of terror that were more effectively covered up.The point isn't that conspiracy theories are TRUE, it's just that they are POSSIBLE, and are therefore probably inevitable. Do I fall for Freemason conspiracies? Eh, not so much. Alan Moore himself says that while it's possible to believe in individual conspiracies, it's really just a comfort blanket protecting us from the much more terrifying truth: that no one is in charge, that all is chaos.And the fact that these structures, these authorities are so patently corruptible, so prone to delusion, so HUMAN, is something we rarely think of. They are not mechanical, and they do not have things "in control," either benevolently or nefariously, and that in itself is the most terrifying part of reality, that things may be run by people like us.As far as the quality of the writing and art, it's impeccable. All black-and-white, all extremely stark and realistic, this does not present a single character as a flawless comic-book superhero, but rather, presents everyone as flawed or even normal, and thus presents the grittiness of late 19th Century London in an extremely realistic fashion. This deserves all the acclaim it gets. Get over your dislike or hesitance towards graphic novels (or, if you must, comic books) and read this.--------------------I re-read this in June of 2013, after I'd lived in Lilian Knowles House - formerly the Providence Row Night Refuge - for a year. This time I read the appendices along with each chapter, which gave me significantly more appreciation for this piece of work than I'd had before - which should say something, seeing as I gave it five stars at the time.This is an incredible story, flawlessly executed. The research required to do it - into the history of London, the history of the Freemasonry, the psychology of murder, as well the personal histories of William Gull, Fred Abberline, the five victims, and virtually all of Victorian London - is staggering. And while it's clear he mainly draws on a few sources, some of which he admits as severely flawed, he's always honest enough to do so, and he painstakingly explains, page-by-page, what is factual, and what is invented. If you are not into graphic novels, read this. It's incredible.

  • Aaron
    2019-05-29 16:28

    I'm very aware of the implications of criticizing the canon. Bazillions of you have already come through and gushed all over this dark, difficult graphic novel and through the weight of reputation alone, I feel like I should give it at least six or seven stars. I am reminded of a (now ex) girlfriend who told me Aguirre, Wrath of God was "boring" (which it is, but it's still great), or the dude who thought Gremlins was "stupid" (which it is, but it's still great). I guess I found From Hell hard to look at, more than anything else. I understand that the best way to convey darkness in a black and white graphic novel is with huge black splotches, I understand that the rain and gloom of Victorian London lends itself to a certain amount of foggy, rainslashed obscurity. But the book gave me a headache.It's well written but also pedantic, slow moving and, at every pass, hard to read without wanting aspirin or wanting a drink.There were passages of focused intent - I remember most specifically the carraige tour of London and the accompanying discussion of the significance of monument and the ahistorical campaign to subjugate the maternal in art and architecture, but there was nothing about its presentation that particularly favored the graphic novel format and I found myself returning to the text over the panel so heavily that it might've been simpler and happier to have encountered that portion in a book.Great historical subject matter, good writing, long digressions, bad headaches.The most sincere non-endorsement I can give would go something like this:This is the book that made me realize I might need glasses, because it made me squint all of the time. It would also fall into the category of "reputable works that I've completed mostly out of a self-denying desire to be disciplined and not from any sense of enjoyment."Of the three iconic graphic novels I've read in a continuing experiment to subjectively rescue myself from an adolescent overdevotion to hero comics, this one was by far the worst.

  • Lee
    2019-06-08 12:24

    I wish I could give 2 1/2 stars for this because while I appreciate this graphic novel as an artistic endeavor, I really did not like it. I really had to struggle to even finish it.I really wanted to like it. I love Jack the Ripper speculation and I've always loved comics, so I had hoped this would be right up my alley. Sadly I was disappointed. I will admit that Alan Moore wrote a great story. The sheer amount of research he must have conducted about London in 1888 and Masonic ritual must have been astounding. These things I loved. I just would have preferred this in novel form.I spent most of my reading time confused by the illustrations, which unfortunately catapulted me out of the story almost constantly. I understand that Eddie Campbell's art is meant to represent the dark grittiness of Whitechapel in Victorian London. My largest problem was that the action of the panel would often be incomprehensibly muddled. My largest confusion came from my inability to tell the difference between the female characters. So unless a woman was referred to by name, I usually had no idea who she was. Without spoiling the plot, I can only say that this distinction becomes important.Maybe this character confusion was part of the artistic intent. The dialogue makes it clear that women were not valued in Victorian London. So maybe this interchangeability of women should only add to the readers understanding that these women were considered worthless? Good only for sex? She is worth less, in fact, than a dog?

  • Marco Simeoni
    2019-05-30 10:48

    Una ma anche tante storie su Jack Lo squartatoreAppendice Voto: *****Parto dalla fine. Alla fine del tomo c'è una doppia appendice. La prima, sviscera ognuna delle 400+ pagine della graphic-novel andando a svelare fonti bibliografiche dell'epoca e scelte narrative di Moore per coprire i buchi della storia. Già solo questa documentazione è impressionante per la sua mole e può essere considerata a tutti gli effetti una vera e propria bibliografia che ha richiesto anni per essere pensata, tessuta e riannodata in questo magnifico esempio di storiografia a fumetti. La seconda appendice è un sotto-fumetto che mostra (in ordine cronologico) le varie ipotesi su chi fosse realmente Jack lo Squartatore e i possibili moventi che lo portarono a compiere delitti così efferati.La storiaSi segue la teoria di Sthepen Knight, dal suo libro "Jack the Ripper: the final solution" Come lettori si viene catapultati nella Londra di fine '800 e si assiste a un lento e inesorabile crescendo di eventi apparentemente scollegati. Gli autori osano molto e intrecciano la storia principale con personaggi famosi della Londra del tempo. Grazie alla bibliografia si può decidere di leggere questa graphic novel in 2 modi:°Capitolo per capitolo, consultando volta per volta la bibliografia°Leggerlo tutto d'un fiato e poi leggere la bibliografia alla fine.Ero partito con le buone intenzioni con la prima scelta, la più esaustiva, ma poi la voglia di andare avanti ha preso il sopravvento e sono voluto arrivare alla fine. Mi è piaciuta maggiormente la parte storica rispetto a quella metafisica totalmente inventate e associata allo Squartatore di White Chapel. Però è un testo che consiglio a chiunque sia interessato a quella vicenda, ma anche al periodo storico dell'Inghilterra Vittoriana.Il titoloViene fatto pronunciare dal protagonista e denota una chiara linea etica scelta dal duo Moore-CampbellP.S: Un mio amico mi ha confidato che dopo anni dall'uscita di "From Hell" lo stesso Moore abbia confessato di non credere alla ricostruzione da lui stesso effettuata per questa graphic-novel. CHE MATTO!!!

  • Paul Nelson
    2019-05-24 13:29

    From Hell is Alan Moore's take on probably the most infamous serial killer ever, a tome of a book at 570+ pages, which includes detailed research, various theory's and sources for all the plot points.For a Jack the Ripper enthusiast this is a wonderful piece of fiction exploring one of the more prominent suspects and naming the one that I think all the conspiracy theorists would love most of all. After all you couldn't make a better story than one with Royal scandal and the intervention of the Queen herself. For me however, the story doesn't flow very well and at times I had to force myself to stick with it, the author feels the need to explore every character in depth even the ones on the periphery of the story. More a depiction of events surrounding the Whitechapel murders than an attempt to engross the reader, the Ripper is revealed fairly early and it then becomes a focus on his character and the cover up that follows.Queen Victoria’s grandson Prince Albert Victor has an affair with shop girl Annie Crook that results in an illegitimate child and marriage. The Queen is not overjoyed with this news and Prince Albert Victor’s new wife is locked up in an asylum for the insane or more accurately a prison. The child is left in the care of Mary Kelly, a prostitute, who with her friends attempts to blackmail the royal family. Queen Victoria is forced to take steps and calls on the Royal Physician, Sir William Gull, a respected surgeon and Mason, and instructs him to deal with the matter.Alot of the story centres on Gull and his descent into madness, driven by a spiritual almost supernatural need which cannot be fully comprehended, he attempts to take his Masonic beliefs and the visions he has, to ascend to a level only he can see. This is the driving force of the story and not the identity or the hunt for Jack the Ripper. Gull's story is well written, captivating at times, laborious at others, for example Gull takes the coachman Nettley on a tour of the significant Masonic sites in London and explains each in turn, some good artwork is shown in this section but the trip lasts forever and becomes a little tedious.The stories of the victims of Jack the Ripper are explored intimately, we see them struggle through life long before the murders, the threats of violence they face and how they deal with the constant need for money to survive. The author deals with the murders of Polly Nichols, Annie Chapman, Elizabeth Stride, Kate Eddowes and Mary Kelly with a degree of respect for the victims, he doesn't dwell on their suffering but pays more detail to the ritualistic aspect of the mutilations after their death. We never remember the names of the victims but Jack the Ripper is a name you will never forget...

  • Morgan
    2019-05-20 15:28

    Alan Moore is one of the smartest comic book writers of our time, if not the best. From Hell is another example of his genius. I can't say this is his best comic book because everything he does is great, but this is one of his smartest comic books that I have read. It's well resurrected and has enough reading material that makes this feel like a novel and not a graphic novel.From Hell is about the Jack the Ripper. Saying it's about Jack the Ripper isn't the full story, it's much more. It not only covers the murders, but the victims and the one who people thought were Jack the Ripper. It covers the people trying to solve the murders too. In this book we know who Jack the Ripper is half way threw, unless you read the appendix. The book also covers history of Victorian England and occult history as well.As I just said we know who Jack the Ripper is in this comic. He is a mad man part of the Freemasons with an obsession of the occult. Everything he does with the murders is in a pattern according to occult laws. Towards the end of the comic Moore pulls a Paradise Lost type of feel with Jack the Ripper. You almost can understand why he did what he did. It's really cleaver how Moore writes this book.I will say this book as a lot of graphic sex and gory violence. Yet if you're picking up an Alan Moore book and don't know that then you clearly don't know what Alan Moore does. Yet like Lost Girls and Watchmen, the violence and sex is necessary. This is about Jack the Ripper!Even if you don't know anything about Jack the Ripper and want to read this for whatever reason, go right head. I knew most about it because I get obsessed with this kind of stuff (I'm a Scorpio), but some of the stuff I didn't know much about at all. Thankfully Moore or Top Shelf were nice and wrote a appendix. This comes in handy for history buffs and people who want to know what the heck is going on. And if that's not enough, there a part two to the appendix which gives you even more information.This comic book is historical fiction, but like I said it reads like a novel novel. Still baffles me how this was made into a movie. Never seen the move and now I really don't ever plan on watching the movie. I'll stick with the comic book. I could see this made into a TV show n Netflix or something because each chapter is set up like an episode, but then again it's not the same.If you're a fan of the Jack the Ripper murders then this book is a must. Even if your a fan of Alan Moore or Eddie Campbell this is a must. Hell, just read this to experience what a good comic book is even about.