' … dark, fearsomely complex …' - Douglas Wolk, Publishers Weekly 'Remarkable.' - Leo Carey, The New Yorker describes, 'I have selected what I find to be the most memorable pages, ninety out of a possible five hundred and one.Winner of the Eisner, Harvey, and Ignatz Awards for Best Graphic Novel. addresses this in his text, what he kept and what he couldn't)įrustratingly this is only a taste of what it could have been.

Some very fine writing is buried in these scripts, and nobody has ever readĭetails like the color and rationale for the color of clothing, (in a work that he knew would be done in B&W) the psychological underpinning for buildings in the background, amazingly details which is up to the artist to portray in a way he finds possible. 'These scripts are rich with incident and information that didn't always, or couldn't find its way onto the printed page. This book is a perfect reason why someone, somewhere, needs to do what Eddie Campbell gives us a taste of here and that's start publishing the COMPLETE ALAN MOORE SCRIPTS. 'You know how the current theory/ common wisdom is that we only use 10% of our brain? It seems we've only ever read about 10% of what Alan Moore has ever written. Moore script, take it! As I wrote in another review of a similar book. If you ever get the chance to read an Alan The first volume of a book set that never happened. Maps, characters, and settings are all as accurate as possible, and while the reader might not ultimately agree with Moore and Campbell's thesis, From Hell is still a great work of literature. Looking more deeply than most, the author finds in the 'great work' of the Ripper a ritual magic working intended to give birth to the 20th century in all its horrid glory.

His characterization is just as vibrant as Campbell's even the minor characters feel fully real. Moore, having decided that the evidence best fits the theory of a Masonic conspiracy to cover up a scandal involving Victoria's grandson, goes to work telling the story with relish from the point of view of the victims, the chief inspector, and the killer-the Queen's physician. The web of facts, opinion, hearsay, and imaginative invention draws the reader in from the first page.Ğddie Campbell's scratchy ink drawings evoke a dark and dirty Victorian London and help to humanize characters that have been caricatured into obscurity for decades.

Alan Moore did a couple of Ph.D.'s worth of research into the Whitechapel murders for this copiously annotated collection of the independently published series. The mad, shaggy genius of the comics world dips deeply into the well of history and pulls up a cup filled with blood in From Hell.

From hell graphic novel