When Queen Victoria finds out she has Prince Albert confined to the Palace and the wretched prostitute sent to Bedlam, the famous madhouse. 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 fact that Gull couldn't possibly imagine a television set on his own seems to say that his vision is more than a hallucination, that it's an actual visitation, a doorway between two times.

Die S/W-Zeichnungen sind nicht schlecht, auch die Darstellung des viktorianischen London ist gut gelungen, aber insgesamt war die Story rund um das Rätsel der Whitechapel-Morde etwas lahm. 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 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. From Hell goes there, serving as a freaky introduction to life without time, magical incantations, demons, and the power of location upon magic. Nevertheless, this is an ambitious and good piece of work and it deserves all the recognition it's gotten over the years.There are hundreds of examples of Ripper fiction like this, and they usually serve the same purposes: to illuminate and hold accountable a killer who in real life was never caught and to examine and possibly celebrate the lives of five women who never got the justice they deserved. 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. William Gull is acting on behalf of the crown to avoid embarrassment and hide the knowledge of an heir born to a commoner, but he also has grander reasons for his crimes. 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.

Gull as the villain and creates the most compelling and terrifying psychological study ever undertaken.The sense of individual characters is simply not there--instead we tend to see the same faces and forms, over and over. 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.

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. Never one to limit himself in form or content, Moore has also published novels, Voice of the Fire and Jerusalem, and an epic poem, The Mirror of Love. 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. En última instancia, como observa Moore, la identidad de Jack y sus acciones son irrelevantes para la forma en que la sociedad abrazó el miedo. La impresionante obra de arte en blanco y negro de Eddie Campbell, repleta de un brillo sucio y áspero se adapta perfectamente a la intensidad a menudo inquebrantable de la escritura de Moore.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. 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. 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.

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. Victoria then instructs her royal physician Sir William Gull to impair Annie's sanity, which he does by damaging or impairing her thyroid gland. It was really, really depressingly long and with such a dark storyline anyway, it was just a little too much. El dibujo por cierto es en ocasiones realmente espectacular, y en otras parece más una serie de bocetos rápidos, pero que no desentona en ningún momento. The depiction of the murders themselves—particularly their climax, the murder of Mary Kelly, which takes up an entire chapter—is horrific and merciless, explicit and graphic.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*). P. Lovecraft) and feminism (why the killing of all these women, by a man, as if it were an entree to a century of serial killing of women), and class, all backgrounds for him throughout and usually. 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.