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4.01 AVERAGE
4.01 AVERAGE
What a piece of work. This is was a massive, challenging, frightening and all the way through engaging graphic novel. I have meant to read this for years, and am glad I finally did.
I am a huge fan of Moore’s work, and honestly didn’t know what to expect with this one. It took me a minute to get over fact that the story uses perhaps the most ridiculous conspiracy theory about who the real Whitechapel murderer was. However, Moore realizes this, and uses so much meticulously researched history and the surrounding folklore that has sprung up in the over 100 years since the tragic murders of these women, to make an incredible commentary on the world in which these atrocities happened, and how the extreme poverty and government of London at the time made the monster who became known as Jack the Ripoer possible.
I am a huge fan of Moore’s work, and honestly didn’t know what to expect with this one. It took me a minute to get over fact that the story uses perhaps the most ridiculous conspiracy theory about who the real Whitechapel murderer was. However, Moore realizes this, and uses so much meticulously researched history and the surrounding folklore that has sprung up in the over 100 years since the tragic murders of these women, to make an incredible commentary on the world in which these atrocities happened, and how the extreme poverty and government of London at the time made the monster who became known as Jack the Ripoer possible.
dark
mysterious
reflective
sad
medium-paced
Plot or Character Driven:
Plot
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Pode ser o cómic mais impresionante que lin na miña vida.
Mary Kelly was just an unusually determined suicide. Why don't we leave it there?
Well, that was that. From Hell is overflowing with sublime images, there is also a strident lyricism to the prose, My appreciation for both was hampered by my bullshit alarm ringing incessantly. There's this London school of the subversive, to which Moore belongs: Iain Sinclair and Peter Ackroyd are also practicing partners. They parse and weave, finding anecdote and parallel in the accrued centuries of history along the banks of the Fleet and the Thames. The ancient grit and whispered airs both haunt and charge, maintaining spectral currents which cross the city. Everything from the Druids to Oscar Wilde to the Final Solution is duly linked. It does tax and test, but the assemblage is admirable, the loud warnings of a bus stop prophet. So much is recycled and applied elsewhere -- an conservation of totems, a self organizing oracle down pissy alleys amid take-away menus and lottery tickets -- therein lies the true eschatological -- away from the louche plastic of muggle money. Away.
I have seen the film adaptation a number of times, so the arc was familiar. The detail revealed within the text was at times spellbinding, the sepia charm of gaslight and decomposition.
Well, that was that. From Hell is overflowing with sublime images, there is also a strident lyricism to the prose, My appreciation for both was hampered by my bullshit alarm ringing incessantly. There's this London school of the subversive, to which Moore belongs: Iain Sinclair and Peter Ackroyd are also practicing partners. They parse and weave, finding anecdote and parallel in the accrued centuries of history along the banks of the Fleet and the Thames. The ancient grit and whispered airs both haunt and charge, maintaining spectral currents which cross the city. Everything from the Druids to Oscar Wilde to the Final Solution is duly linked. It does tax and test, but the assemblage is admirable, the loud warnings of a bus stop prophet. So much is recycled and applied elsewhere -- an conservation of totems, a self organizing oracle down pissy alleys amid take-away menus and lottery tickets -- therein lies the true eschatological -- away from the louche plastic of muggle money. Away.
I have seen the film adaptation a number of times, so the arc was familiar. The detail revealed within the text was at times spellbinding, the sepia charm of gaslight and decomposition.
Gory, gross and I couldn’t put it down
Trigger warning- this is about Jack the Ripper as interpreted by Alan Moore and it is grisly.
That said- I enjoyed the interpretation of all of the theories and could hardly put the book down once I was a third of the way. Just like Moore’s morbid fans in the book- I was flipping my way to the next page because I had to know.
Trigger warning- this is about Jack the Ripper as interpreted by Alan Moore and it is grisly.
That said- I enjoyed the interpretation of all of the theories and could hardly put the book down once I was a third of the way. Just like Moore’s morbid fans in the book- I was flipping my way to the next page because I had to know.
This is one of those books I wanted to like more than I actually did. I appreciate the depths in which the subject was explored but about halfway through I just lost momentum. For reading enjoyment I gave it a three, for appreciation of the skill involved, a five so I split the difference with a four.
Today I finished this stunning graphic novel by Alan Moore and Eddie Campbell. As a history major, I particularly appreciated the endnotes for every chapter of this fictionalized account of Jack the Ripper's murders. I also thought that William Gull's - our prime suspect - hallucinations and glimpses into London's future were a thoughtful psychological twist on a story that already raises so many mysteries! Alan Moore really *ripped* into the numerous conspiracy theories surrounding this infamous serial killer and spared no gory detail. Highly recommended for horror fans!
challenging
dark
mysterious
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Complicated
challenging
dark
mysterious
Thought it was absolutely brilliant - engrossing story, told in a non-linear way, with fitting art