From Hell - New Cover Edition

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Binding: Paperback Dewey Decimal Number: 741.5973 EAN: 9780958578349 ISBN: 0958578346 Label: Top Shelf Productions Manufacturer: Top Shelf Productions Number Of Items: 1 Number Of Pages: 560 Publication Date: 2000-02-23 Publisher: Top Shelf Productions Studio: Top Shelf Productions
Customer review of: From Hell - New Cover Edition Customer Rating: Summary: Alan Moore's most complex, challenging, and inventive work Comment: From Hell is a literary tour de force, one of many from legendary comics scribe Alan Moore. From Hell tells the (deeply researched) story of Jack the Ripper, but it is so much more than that. Quite simply, it is a story of London--the city is the book's primary focus and it soon becomes a living, breathing character in the mind of the reader. The amount of thought, effort, and research put into this massive volume is quite astounding and a testament to Moore and artist Eddie Campbell's profound skill at their craft. From Hell, along with Watchmen, is Moore's greatest work and should be read by all. It is a wonder to behold, I'd even go so far as to call it life-changing. Customer Rating: Summary: Jack the Ripper's story in a comic book Comment: From Hell is kind of confusing for the first four or five chapters. You really don't have too much of a clue what's going on and who every character is. However, after the first murder, it really starts to weave all of the confusing parts of the first few chapters together and make sense of them. Alan Moore does a great job of showing what the Jack the Ripper murders might have been like, and also showing what the man may have been like himself. The ending wraps everything up quite nicely, and is really profound. From Hell is just more proof of why Alan Moore is widely considered the best in the business. Customer Rating: Summary: A tour de force exposition of Victorian England and a fanciful take on the Ripper Comment: Like many, I knew the vague outlines of the Ripper murders. They occurred sometime in the mid-to-late 1800s in England, the victims were prostitutes, the crimes brutal beyond comprehension, and the perpetrator never caught or even identified. To this rather shallow appreciation, I applied Alan Moore's' "From Hell." I can now say definitively that I know much more about Victorian England - its mores and technology, its deference to royalty, its odd groups, its appearance and the way its lower classes struggled to survive. Whether I know more about the Ripper is another question. From the scattered shards of the case, Alan Moore and Eddie Campbell have put together a near-masterpiece. They weave a quasi-plausible tale that enmeshes royalty, Masonic orders, mad doctors, the easy women of the West End and grinding poverty. That the story is 90% supposition and 10% fact is no matter. Once inured to the gritty and gruesome story telling, the reader is propelled by the tale's drama and pathos. The book employs dozens of real-life characters, including William Gull, royal physician; Netley, his slow-witted coachman; William Sickert, the struggling painter; Abberline, the dogged investigator; Prince Eddy, weak-willed grandson of Victoria. But Moore and Campbell's most noble work is in limning the sordid lives of the victims. Constantly in debt to their landlords, they sell themselves for a few pence - either in a back alley up against a fence or in an out-of-the-way horse stall. The reader often encounters them -- the two Marys, Elizabeth, Annie and Catherine -- chatting with friends, enjoying a glass and fighting with their live-ins. No longer are they merely nameless victims of a brutal and fascinating (probably male) maniac, but women with histories, fears, aspirations and loves of their own. This willingness to acknowledge the personhood on the victims of crime is by itself a great contribution to the story. Moore and Campbell pull no punches. Expect full nudity, turgid genitalia and sexual frankness where it is called for. Expect equally frank depictions of the savage butchery of the murders themselves. Also expect a conspiratorial approach that ought not to be taken as the final word on the story behind the murders in Whitechapel. The deluding rantings (whether of the authors or their characters) about Dionysian priests, sacred architecture and Masonic deities ought not to be taken seriously as historic. But they do give the book much of its creepy fascination. The book's main limitation was in its artwork, whose often borderline artistic quality sometimes made the action hard to follow. Thankfully, the art was rendered in black and white. This made its goriness more tolerable, but made it difficult to determine what was going on - what was that black mass being pulled out of a body? The story, too, had its problems. Killing the women was easy to understand, but the mutilations, even under the aegis of being the ritualistic actions of a psychopath, made less and less sense as the horrors progressed and did not fit the facts very well. The perpetrator was mad, yes, but madness has a logic that was sometimes absent from this tale. Toward the end of the book, a prose section allows Moore to provide the reader with a lens into his approach. He evidently took his information from the many books that have sprung up about the case, many of which sound pretty fringy, if you ask me. And that's before Moore applied his sinister magic to them. Moore is frank about inventing dialog and scenarios to fill in the gaps in the corpus of factual evidence. A little bit of research will show the determined reader that Moore bent many facts way out of shape to fit them into his thesis. This does violence to the truth, something I do not normally condone. But the flip side is that the reader becomes acquainted with the late Victorian era in a way whose verisimilitude (outside of the farfetched conspiracy) is shockingly persuasive. Taken for what it is - a mostly imaginary retelling of an all too real tale of bloody murder, "From Hell" is enormously entertaining and compelling. Read it if you have the stomach for large doses of humanity at its most bestial and the ability to swallow conspiracy theories with a grain of salt. Customer Rating: Summary: Graphic SF Reader Comment: Moore and Campbell have delved deeply into the story of Jack the Ripper, to present a version of what might have happened, based on what they knew and discovered in the research. While odd looking to start with, the artwork seems to fit the squalor of the times once you start reading, and the density of the work is pretty impressive. Customer Rating: Summary: A masterpiece! What did you expect me to say? Comment: Thick as a phone-book and often difficult to navigate. 'From Hell' is a comic that demands a lot from the reader and not is possible to finish over a single visit at the restroom. But it will yet be a highly rewarding experience for whoever who dares to give it a try. In one of his most ambitious works Alan Moore gives his version of the still unsolved crimes of Jack The Ripper. Stories of the police, the prostitutes, citizens of London and the killer himself are neatly meshed together with a enthusiastic analysis and ideas that appears very realistic though most is fiction. Comics are rarely seen as intelligent or complex as this. Eddie Campbell's drawings has this raw and unpolished look that suits the story just perfect and he makes a great deal of portraying the locations, the people and the gruesome killings in details. The killings are extreme and not for the weaker but they naturally also plays an important part and should certainly not ever be left out. Now, just imagine the enormous research both must have done for this book!
Editorial Reviews: Legendary comics writer Alan Moore and artist Eddie Campbell have created a gripping, hallucinatory piece of crime fiction about Jack the Ripper. Detailing the events that led up to the Whitechapel murders and the cover-up that followed, From Hell has become a modern masterpiece of crime noir and historical fiction.
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