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From Hell: Master Edition

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Theirs is an astounding achievement that transcends the graphic novel medium. It is not simply the greatest graphic novel ever written (though it is that), it is also one of the greatest five stories I have ever read. I would put it up there with Hamlet and Gravity's Rainbow and The Outsider and Wuthering Heights (forgive me this list ... I've not read some others that are undoubtedly great and perhaps deserving of my praise). 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." It essentially turns the film version of From Hell into a schizophrenic disaster, a movie that can't decide if it's a fact-based police procedural, a horror movie with supernatural elements, or the Hollywood version of a historical thriller (i.e. the Victorian prostitutes are way too hot to be actual Victorian prostitutes). Say what you will about Alan Moore's writing style (which I admit can get awfully overblown at points, especially when he was younger), but at least he is a master at putting together a sharply focused yet wildly digressive story, and smart enough to understand how two such seemingly competitive elements can actually complement each other when done in the right way. It's a lesson that completely eluded the group of people responsible for the movie version; and that's why the book version of From Hell is ultimately so brilliant, and why the film version is ultimately so terrible. 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 primary crime of the feature film being that what was essentially deep and complex character study of the murderer, the victims and the detective is compacted into run-of-the-mill whodunnit. Eddie 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. From Hell is a graphic novel by writer Alan Moore and artist Eddie Campbell, originally published in serial form from 1989 to 1998. The full collection was published in 1999 by Top Shelf Productions.

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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).

This is the second graphic novel by Alan Moore that I've read. He is a very prolific writer, but sometimes he's a bit too over the top for my taste. It was OK in V for Vendetta though I must admit to liking the movie a bit better because it was more grounded. With From Hell, once again, I've seen the movie before having read the graphic novel and although the movie features Johnny Depp and a lot of opium, I liked that one better as well.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). 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. What matters is that Alan Moore's writing and Eddie Campbell's artistry uncover a deep emotional and philosophical truth about the reverberations of the smallest actions in the world. The smallest and the biggest. What matters is that they recognize that their tale is nothing more than a tale told from their perspective. What matters is that they painstakingly researched anything and everything that had to do with that autumn in East London, that they rode every ripple from the epicentre no matter how far it took them in time and space, that every decision they made was conscious, and that the sum of that conscious work offered a hyperreality of that definitive event in the life of London that encapsulates the beauty of our existence within the ugliest of events. That is the truth they uncovered: the beauty of living in the ugliest of circumstance. 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. The collected edition was a top vote getter for the Comics Buyer's Guide Fan Award for Favorite Reprint Graphic Album in 1999. [15]

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. Critic Gary Groth says the most elaborate theme in From Hell stems from Moore's statement that "the Ripper murders — happening when they did and where they did — were almost like an apocalyptic summary of... that entire Victorian age." [7] Awards [ edit ] 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. Jamás QUISE volver allí. Whitechapel no es parte de la sociedad. Es otra cosa. No puedes controlar a esa gente. ¿Cómo intimidas a alguien que ya convive con lo peor de lo peor? Allí no hay código, ni moral. No se los pueden PERMITIR. Esa es la verdad. Es como si vivieran en otra época. En una época salvaje, anterior al hombre. Hay algo en ellos, Emma; en su miseria. Algo de lo que no puedes apartar la vista, y que resulta peligroso. Te atrapa. Sientes cómo te ahogas en ello, y solo quieres aferrarte a algo, o a alguien.”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. Some of Campbell's panels are better than others, reaching a height which would have easily carried the book, but alas, the common lot is of (literally) shaky quality. 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.)

Both creators are at the top of their game… a hypnotic read and perpetual re-read." — Rolling Stone 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. Il primo approccio, dopo una introduzione dell'autore che mi ha messo i brividi, é stato quello temuto: disegni orrendi, dialoghi logorroici ed appendice integrativa finale da leggere dopo ogni capitolo se volete capirci qualcosa... insomma, una vera e propria mattonata.Holub, Christian (May 31, 2018). "Eddie Campbell explains why he's coloring From Hell for the first time". Entertainment Weekly. 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. 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? Las brutales actividades de su Destripador son el epicentro de una conspiración que involucra el corazón mismo del establishment británico, incluidos los masones y la familia real.

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