Beginning in September, readers old and new will experience FROM HELL as never before. The FROM HELL Master Edition presents Alan Moore and Eddie Campbell’s Victorian masterpiece as a ten-issue serial, thoroughly restored and revised “for color, clarity, and continuity” by Eddie Campbell himself. From Wikipedia: Psychogeography is an exploration of urban environments that emphasizes playfulness and "drifting". It has links to the Lettrist and Situationist Internationals, revolutionary groups influenced by Marxist and anarchist theory, and the attitudes and methods of Dadaists and Surrealists. Psychogeography was defined in 1955 by French Philosopher Guy Debord as "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals." As a practice and theory, psychogeography has influenced a broad set of cultural actors, including artists, activists and academics (Perhaps to most famous psychogeographer today is London-based Iain Sinclair , who is also personal friend of Moore ’s). 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. Wer sich als Leser auf dieses Mammutprojekt einlässt, tut gut daran, schon einiges Hintergrundwissen über die Protagonisten und Theorien rund um die Whitechapel Morde zu haben. Moores FROM HELL ist kunstvoll konzipiert und extrem anspielungsreich. Mit Campbell hat er einen Zeichner gefunden, der das Szenario / Drehbuch sicherlich ganz in seinem Sinne umgesetzt hat: filmisch anmutende Perspektivwechsel, Symbole und Details wollen erkannt und gedeutet werden. El volumen que yo he leído incluye unos apéndices en que el autor nos explica de donde sale prácticamente cada cosa tratada en la obra, y es en sí mismo digno de leerse.

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. Me arriesgo porque me gustaría recomendar esta novela gráfica a todos aquellos que sienten curiosidad por este tipo de cosas (me refiero a cómics, historia, asesinos en serie, misterios, terror, arte gráfico, etc.), pues este cómic es el resultado de un enorme trabajo de investigación e interés personal, cuya genuina motivación queda patente en la elaborada trama, una trama que no deja cabos sueltos. Ni uno. 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." From Hell won several Eisner Awards, including "Best Serialized Story" (1993), [8] "Best Writer" (1995, [9] 1996, [10] 1997 [11]), and "Best Graphic Album – Reprint" (2000). [12] It won the 1995 Harvey Award for Best Continuing or Limited Series, and the collected edition won the 2000 Harvey Award for Best Graphic Album of Previously Published Work. Finito l'interminabile quarto capitolo, con i suoi soporiferi sproloqui su massoneria ed architettura delle chiese londinesi costruite da Hawkmoor, un flash: la storia ingrana lasciandomi a bocca aperta più e più volte (ma le storie di Alan Moore mi fanno più o meno tutte questo effetto) e rivaluto completamente i disegni di Eddie Campbell, perfettamente integrati ed adatti al racconto: non più una semplice indagine sull'assassino più famoso negli annali della storia, la cui ferocia si può dire diede inizio concretamente al Ventesimo secolo, ma un'opera monumentale basata su una accurata (e maniacale) ricostruzione storica (alla quale hanno contribuito in minima parte anche Dave Gibbons e Neil Gaiman, compagni di "merende" di Moore ai tempi di Watchmen e Spawn).Currently Campbell lives between Chicago with his new partner novelist, Audrey Niffenegger and London where his adult daughter from his previous marriage, Hayley Campbell also lives and works as a journalist. Posiblemente su mejor esfuerzo en una carrera salpicada de momentos tan gloriosos como son Watchmen y V de Vendetta. Más allá de la miríada de teorías existentes, que van desde lo sublime hasta lo ridículo, Moore presenta una ingeniosa visión de la matanza. From Hell goes there, serving as a freaky introduction to life without time, magical incantations, demons, and the power of location upon magic. En principio puede resultar un poco duro adentrarse en este cómic, en los primeros capítulos se nos exponen gran cantidad de personajes y sucesos entre los que no encontramos relación, muchos detalles que no adquirirán significado hasta más adelante... 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.

Especially given that following Moore ’s ongoing legal battles with DC Comics for the IP rights, he has effectively disowned Watchmen . Dave Windett, Jenni Scott & Guy Lawley, "Writer From Hell: the Alan Moore Experience" (interview), Comics Forum 4, p. 46, 1993Eddie Campbell discusses his process in greater depth and reveals an exclusive interior preview of From Hell: Master Edition in a new interview at Entertainment Weekly. This part is worth all the apparent slog of most of the rest of the comic. (At least for me, but I love literature of ideas and oddities and complex plots.) 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.

Después de leer este cómic he de reconocer que aunque se pueda hacer un poco duro sobretodo al principio, la lectura de los apéndices me parece esencial para el óptimo entendimiento de la obra, es más, creo que lo mejor es ir leyendo los apéndices según se lee el cómic, en paralelo; nos dará una mejor percepción de los acontecimientos y los personajes, nos aportará múltiples anotaciones históricas y mitológicas, nos pondrá en alerta sobre detalles que se pueden pasar por alto fácilmente y sobretodo nos hará apreciar el gran esfuerzo de Moore a la hora de documentarse, este hombre no da puntada sin hilo. 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. Te diré dónde estamos. Estamos en la región más extrema y absoluta de la mente humana. Un inframundo oscuro y subconsciente. Un abismo radiante donde los hombres se encuentran. Estamos en el infierno" Obra cumbre de Alan Moore, guionista de "La cosa del pantano", "Watchmen" y "V de vendetta". Con dibujo de Eddie Campbell. Un dibujo artístico con planos a larga y media distancia, aunque en los primeros planos se desvanece un poco el arte. Por suerte no abusa. Para este estilo de dibujo no sienta bien un plano corto. Es ese dibujo que parece estar a medio camino entre el boceto y el acabado final. Con multitud de trazos visibles para dar "color", cuerpo o profundidad a diferentes partes de la viñeta con el uso únicamente del blanco y el negro. Algo irregular también con las expresiones y rostros de los personajes.Groth, Gary (February 1991). "Last Big Words — Alan Moore on 'Marvelman', 'From Hell', 'A Small Killing,' and being published." The Comics Journal 140. 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 Ironically, the best part of the book is an appendix comic-essay called "The Dance of the Gull Catchers," which explores the difficulty of studying the history of the killings. Moore and Campbell also provide an exhaustive overview of which parts of the story are fictionalized and which have some basis in reality, an exceptionally rare move in historical graphic fiction.