Tan enredado en la cultura de la violencia de las celebridades que recibió su impactante y visceral nacimiento. 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. Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. 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).

I found it to be a harrowing investigation of the motivations that can lead someone to commit such gruesome atrocities. 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 . 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. The last experience his spirit undergoes before it "becomes God" is visiting a woman living in Ireland. The sad truth, however, is that this examination, while epic and masterful, still isn't especially rewarding to watch.Such a lengthy and unbroken piece of naked exposition detracted from the notion that this was a story at all. 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.

One can study the art of the period to the exclusion of all else for a lifetime, and after fifty years, still keep discovering new masters, new styles and forms you've never even heard of before--an embarrassment of riches fathomless to plumb. creo que el artista hace un gran trabajo y se nota la atención al detalle y el esfuerzo por ofrecer un retrato veraz y fiel de la época. The anatomy is particularly slipshod--especially when aping a period when anatomical precision was such a central, defining aspect of art. I'm sure I'll get tons of shit for this, especially because Moore famously hates all adaptations of his work, but just go watch the movie lmao.The idea seems to be that Gull's acts are having an effect on the future, perhaps even giving birth to modern times. Más allá de la miríada de teorías existentes, que van desde lo sublime hasta lo ridículo, Moore presenta una ingeniosa visión de la matanza. I think of Duncan Fegredo, the greatest living comic artist, and his work on Peter Milligan's remarkable Enigma: it was slipshod, loose, and fluid, refusing to be confined, yet it still managed to be forceful, impressionistic, and vividly alive.

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. Gull refuses to submit to the council, informing them that because of his accomplishments and his visions, no man amongst them may be counted as his peer and cannot judge the "mighty work" he has wrought. Moore had earlier explored similar ideas in Watchmen, where Doctor Manhattan perceives past, present and future simultaneously, and describes himself as "a puppet who can see the strings".Subtle touches such as depicting the Whitechapel slums as grimy and dirty by using an art style that emphasizes the shadows and the filth, whereas whenever he would depict the ordinary life of Sir Gull the art style was closer to a painted style which emphasized the opulence of the class of men such as Dr. A new tv series based on Michelle McNamara's I'll be Gone in the Dark: The Hunt for the Golden State Killer--0ver 50 rapes, more than a 100 burglaries, 13 murders, from 1974-86, came out in summer 2020; see my review of her book, it's just one of many studies of obsession over a serial killer).