From Hell Master Edition

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From Hell Master Edition

From Hell Master Edition

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Per quanto riguarda l'appendice finale con tutte le teorie dei vari "Squartatorologi" (Moore & Campbell inclusi) io l'ho trovata a tratti esilarante. 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. 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. Entre ellos, cada asesinato se representa con horroroso detalle, proporcionando las escenas más desconcertantes del libro. Más aún en momentos incómodos pero líricos.

From Hell" es muchas cosas. Es una obra de arte, una novela gráfica pero también es una obra de ficción. Visión vívida, cruda, humana y realista. A menudo es brutalmente honesta un reflejo del Londres victoriano. Como del ser humano. Es una obra hecha a conciencia, con una cantidad de investigación ingente que merece su propio libro (de hecho lo hay) y que usa el autor para contarnos algo que puede haber sido real pero que seguramente nunca se sabrá. Groth, Gary (February 1991). "Last Big Words — Alan Moore on 'Marvelman', 'From Hell', 'A Small Killing,' and being published." The Comics Journal 140. Holub, Christian (May 31, 2018). "Eddie Campbell explains why he's coloring From Hell for the first time". Entertainment Weekly.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. No matter if it´s an alternative explanation of history from 10, 100, 1000, or 5000 years ago, one simply doesn´t know it. Except one is so naive as to believe the historians from 2.345 b.c or 1888 a.d. Everyone else should be open to close to any other explanation because of the sheer fact that one can´t and doesn´t know. As in many of Moores´works

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. Gaiman, Neil (2016). The View from the Cheap Seats: Selected Nonfiction. New York, NY. p.248. ISBN 978-0-06-226226-4. OCLC 939277355. {{ cite book}}: CS1 maint: location missing publisher ( link)


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. 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? 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.

Gull, a high-ranking Freemason, begins a campaign of violence against the four women in Whitechapel, brutally murdering them with the aid of a carriage driver, John Netley. While he justifies the murders by claiming they are a Masonic warning to an apparent Illuminati threat to the throne, the killings are, in Gull's mind, part of an elaborate mystical ritual to ensure male societal dominance over women. While targeting Kelly, Gull also kills Catherine Eddowes, who was using Kelly's name as an alias. As the killings progress, Gull becomes more and more psychologically unhinged, until he finally has a full psychic vision of the future while murdering a woman he believes to be Kelly.El trabajo de Moore ha sido clínico, detallado, un trabajo de documentación que vemos al final del libro, apabullante e incómodo pero estas reacciones son tan intensas que uno solo puede aprobar las alegorías efectivas de Moore. Moore reúne toda la investigación para contar una historia humana, cruel y memorable. Un paseo por la historia, un camino por el pasado. 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.

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.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.

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