![]() ![]() Added to those are some of his own scratched-out design briefs, which nobody had ever seen before now, not even Campbell, and miniatures of the finished, published page. ![]() We only get a small fraction of them, but they are enough – a little of Moore writing like this goes a long way, and he never believed in little. We see, as not even the most avid fan would have done before now, many insights into the creative process, as the actual instructions from Moore to Campbell are recreated in all their florid, verbose and vivid glory. Just as the actual From Hell is a metafiction – telling lies about truths, as the creators might have put it – so here too we get several strands of narrative. This volume is his illustrator Eddie Campbell's look at proceedings, and for a book that would appear to have no actual Moore input in it, he provides a welter of words for it. While the latter may appear to many to be a great, galumphing graphic novel loosely about Jack the Ripper, you ain't seen nothing yet. Summary: Not just for a handful of avid fans, this look at the birth and building of a classic graphic novel is a fascinating insight into the art of turning words into pictures.Īlan Moore will always be synonymous with two major books – Watchmen and From Hell, his look at the Whitechapel Murders. ![]()
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