Faceless, he is the receptacle for each new social panic."Įddie 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. 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. 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.īolstered 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. 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. Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. 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. 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.
A radiant abyss where men meet themselves.
We're in the most extreme and utter region of the human mind.
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