From Hell, a graphic novel of epic proportions, written by Alan
Moore and illustrated by Eddie Campbell, is one of the finest examples of
visual storytelling that I have experienced. Not only is it visually stunning
but the depth and breadth of its content is worthy of a level of literary
acknowledgement that is seldom found within the pages of a "comic
book."
The narrative follows the exploits of the infamous "Jack the
Ripper," a maniacal serial killer who preyed upon prostitutes around the
turn of the twentieth century. Moore offers an interesting and original
interpretation of this brutal killer whose name still echoes through the
cobblestone streets of Whitechapel, London. Moore's Ripper is a freemason
working for the English monarchy on a quest to perpetuate the patriarchy by
defending the Crown against a threat of blackmail posed by an illegitimate
child of royal blood born to a woman of ill repute. The plot revolves around
the Ripper's attempts at rationalizing his savagery. This premise provides
Moore with many opportunities to explore at great lengths the philosophical
justifications of a highly educated, and immensely eloquent madman. Moore
also provides an exhaustive appendix that clearly illustrates the vast
amounts of research and study that led to the creation of this work of
historic fictional genius.
Artist Eddie Campbell's style and execution are impeccable. His palette
consists of solid black and white with varying degrees of cross-hatching. He
sheds a light of rugged and grimy realism upon his characters. His lines are
deliberate, yet not so controlled that the evocation of motion and mood is
stunted. The general theme of Campbell's work is contrast, black and white,
dark and light. This stark distinction poses an interesting anti-parallel to
a plot that explores some serious moral grey areas.
This book presents the reader with a moral dilemma. The authors represent
the murders in such a way that they are deemed "acceptable and
justified" by the society within whose confines they occur. However, the
brutality and gratuitous nature of the crimes are portrayed with graphic
intensity. Also, the reader is constantly assaulted by the Ripper's
soliloquies of self-justification. In reading this book, I was torn between
my own morality and the moralities espoused by the characters in the
story.
Moore does an excellent job at manipulating the reader's sympathies.
Using the Ripper as the main character forces the reader, on some level, to
root for his success. Another character is presented for the reader's
consideration, the hapless detective assigned to investigate the Whitechapel
murders. I found this character to be worthy of the most sympathy. The
detective is in a moral position similar to that of the reader. He is
subjected to the violent aftermath of the murders, yet he is also privy to
the influence of a system that is not entirely apposed to the Ripper's cause,
the maintenance of the existing hegemony.
From Hell is a masterpiece on multiple levels. It is a beautiful
work of art, an exemplary work of visual narration and a provocative literary
commentary on moral relativity in the changing world of late 19th
century England.
http://www.alanmoorefansite.com
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