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. Moore and Campbell never forget for a moment that Gull’s ceremonial pawns are also real human women. 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.

I understand the concept of an unsure, muddy world, a world of the past, seen through a thousand conspiracy theories and lies, but that thrust of history must still be presented with a sense of forcefulness, a trajectory--or better yet, many trajectories. From Hell es una reinterpretación más de los asesinatos de whitechapel de otoño de 1888, ¿otra búsqueda más de la identidad de Jack el destripador?In one long chapter (which I found incredibly boring on first read but tolerable on the second) he takes his murder assistant on a tour of magic-imbued locations and memorials around London, explaining their significance to England and to his own cause. The prince's daughter is taken to Annie's parents by the artist Walter Sickert, a friend of Eddy's who had accompanied him on his trips to the East End. En última instancia, como observa Moore, la identidad de Jack y sus acciones son irrelevantes para la forma en que la sociedad abrazó el miedo.

El dibujo de Eddie Campbell como digo en principio no es muy atractivo, pero refleja a la perfección la ambientación en el londres victoriano, sus gentes, las formas de vestir de la época y la oscuridad necesaria en una obra como esta. 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. a massive exploration of the Jack the Ripper murders that incorporates British history, Masonic ritual, and London geography in a fascinating and horrifying conspiracy theory.But the plan has a flaw because there are other people who know about the child and these women, prostitutes, try to blackmail the prince's friend because they are getting harrassed by a street gang and need money to survive. Because yes, the good doctor is not only a lord and friend to the Queen, he's also a Freemason and trying to block the influence of the Illuminati by murdering women in a grizzly way. Most book versions of the Jack the Ripper story, non-fiction and fiction, make a case, propose a theory, and Moore does this, too, as I've said, but not in "true crime" fashion.

La impresionante obra de arte en blanco y negro de Eddie Campbell, repleta de un brillo sucio y áspero se adapta perfectamente a la intensidad a menudo inquebrantable de la escritura de Moore. Der Autor hat zweifellos eine Menge Arbeit ins Quellenstudium gesteckt, um möglichst viel davon in seiner Geschichte zu verarbeiten. Between them, each murder is rendered in horrifying detail, providing the book's most unnerving scenes, made more so in uncomfortable, yet lyrical moments as when the villain embraces an eviscerated corpse, craving understanding; pleading that they "are wed in legend, inextricable within eternity". But a group of prostitutes, friends of the secret heir's mother, try to blackmail the royal family to raise money to pay off a group of thugs who are extorting them.The title is taken from the first words of the "From Hell" letter, which some authorities believe was an authentic message sent from the killer in 1888. The changes this masterpiece (superior to Watchmen and The Killing Joke and V for Vendetta) have wrought on storytelling, on the comic form and even on me are unclear at the moment. It was really, really depressingly long and with such a dark storyline anyway, it was just a little too much. Another contradiction is in Moore’s (and artist Eddie Campbell’s) treatment of the women who are the “Ripper” victims.