$Book$ From Hell #1-11) {PDF}
From Hell #1-11)
By : by Alan Moore (Goodreads Author), Eddie Campbell (illustrator), Pete Mullins (illustrator)
ratings : 31,049
ratings reviews : 1,591
reviews
Original Title : From Hell
ISBN : 0861661419 (ISBN13: 9780861661411)
Edition Language : English
Series : From Hell #1-11
Paperback, 576 pages
Published 2007 by Knockabout Comics (first published 1999)
Characters : Aleister Crowley, Oscar Wilde, Jack the Ripper, William Morris, Joseph Merrick...more, Queen Victoria...less
Setting : United Kingdom
Description : "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 "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
Literary Awards : Harvey Awards Nominee for Best Writer (for Alan Moore) (1992), Prix du Festival d'Angoulême for Prix de la critique (2001), Will Eisner Comic Industry Awards for Best Graphic Album–Reprint (in 2000 awards), Best Writer (for Alan Moore) (in 1995, 1996, 1997 awards) (1995)
REVIEWS :An outstanding achievement. I'm in deep awe of the many components that make up this complex, riveting work of ART. First off, the illustrations are opaque & 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 & 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 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 Gavin wrote: "So you got exactly from this book what it was intended to make you feel and yet you give it 1 star. Curious."Just because we felt the Lol thanks S.G. I think this review gets more dopey condescension, patriarchal trolls, and indignant haters than any other I've ever written. Alan Moore’s graphic novel From Hell is an extraordinary creation, difficult to encapsulate for someone like me, who strives to epitomize the essence of a work in a relatively short review. As Walt Whitman once said of himself, From Hell is “large” (576 pages) and does “contain multitudes,” and—like any thing large and multitudinous—it is full of tantalizing contradictions.On the surface, From Hell presents, in the form of an illustrated narrative, the historical events of the 1888-1891 Uh-oh, I think I like comic books now . . . 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 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 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 "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 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 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 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 God this has to be about the most boring thing I've read this year. Well, I read maybe ...20% of it ...then I started skimming it ...then by about the 60% point I was literally just looking at the pictures because I cannot explain with words how MIND NUMBINGLY DULL THIS IS. I'm sure I'll get tons of shit for this, especially because Moore famously hates all adaptations of his work, but just go watch the movie lmao. I just ...don't even understand the point of it because all that stuff you find.
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