Orson Welles never went back and added color to Citizen Kane. Everything that made From Hell great in black and white is still there, and the new elements add a lot more than they subtract. In the end, then, Campbell’s care and craft are succeeding, so far, in threading the needle. Note the eyebrows and hair in the “From Hell, Netley” panels above, or the details of the woman’s face and her slightly smaller hat in the “Not your brother” panels.
“An essential complement to From Hell, an ambitious investigation of the Jack the Ripper murders that’s dense enough to merit such an addendum.” - Under the RadarĢ88-page softcover (with 32-page full-color insert), 7.5″ x 10.In some panels the effect is strikingly new and effective, especially in close-ups of characters’ faces where features had been formerly delineated by masses of black lines. “A man-behind-the-curtain look at a seminal graphic novel… an indispensable reference.” - Kirkus Reviews Arranged in narrative order, these perspectives form a fascinating mosaic, an opportunity to read FROM HELL with fresh eyes, and a tour inside the minds of two giants of their field.įROM HELL occupies a monumental place in the history of the graphic novel: a Victorian masterpiece of murder and madness which has won numerous awards, spawned a major Hollywood film, and remained a favorite of readers around the world for over two decades.
Joining them are Campbell’s first-hand accounts of the project’s decade-long development, complete with photos, anecdotes, disagreements, and wry confessions. Here for the first time are a set of pages, including some of Moore’s greatest writing, which have never been seen by anyone except his collaborator. An astonishing selection of Alan Moore’s original scripts and sketches for the landmark graphic novel, with copious annotations, commentary, and illustrations by Eddie Campbell.
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