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From Hell is a graphic novel by writer Alan Moore and artist Eddie Campbell , originally published in serial form from to and collected in Set during the Whitechapel murders of the late Victorian era , the novel speculates upon the identity and motives of Jack the Ripper.

The novel depicts several true events of the murders, although portions have been fictionalised, particularly the identity of the killer and the precise nature and circumstances of the murders. 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 The collected edition is pages long. The and later editions are the most common prints.

The comic was loosely adapted into a film , released in It was banned in Australia for a couple of months in From Hell was originally serialized as one of several features in Taboo , an anthology comic book published by Steve Bissette's Spiderbaby Grafix. After running in Taboo 2—7 — , Moore and Campbell moved the project to its own series, published first by Tundra Publishing , then by Kitchen Sink Press.

The series was published in ten volumes between and , and an appendix, From Hell: The Dance of the Gull-catchers , was published in The entire series was collected in a trade paperback and published by Eddie Campbell Comics in ; trade paperback and hardcover versions are now published by Top Shelf Productions in the United States and Knockabout Comics in the UK.

A fully colorized Master Edition was serialized starting in September [1]. From Hell takes as its premise Stephen Knight 's theory that the Jack the Ripper murders were part of a conspiracy to conceal the birth of an illegitimate royal baby fathered by Prince Albert Victor, Duke of Clarence , slightly modified: Knight's theories have been described as "a good fictional read" whose "conclusions have been disproved numerous times".

However, in the serialised publication of Dance of the Gull-Catchers Moore included an "author's statement" which consisted of a blown-up panel from the prologue, depicting the psychic Robert James Lees confessing that although his visions were fraudulent, they were accurate: That's the funny part. Moore and Campbell conducted significant research to ensure plausibility and verisimilitude.

The collected From Hell features over forty pages of page-by-page notes and references, indicating which scenes are based wholly on Moore's own imagination and which are based upon specific named sources. Moore's opinions on the reliability of those references are also listed. The annotations are followed by an epilogue in comics format, The Dance of the Gull-Catchers , in which Moore and Campbell expand on the various theories of the Ripper crimes and the likelihood—or rather, the near-impossibility—of the true identity of the culprit ever being established.

Prince Eddy had visited the area under an assumed name and Annie is unaware of her husband's royal position.

Queen Victoria becomes aware of the marriage and has Albert separated forcibly from his wife, whom she places in an asylum. Victoria then instructs her royal physician Sir William Gull to impair Annie's sanity, which he does by damaging or impairing her thyroid gland.

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.

Her father believes the child to be his through an incestuous relationship with his daughter. Sickert reluctantly leaves the child with Annie's parents. The potentially scandalous matter is resolved, until a group of prostitutes — Annie's friends Mary Kelly , Polly Nichols , Anne Chapman , and Liz Stride — who are aware of the illegitimate child and its royal connections, attempt to blackmail Sickert to pay off a gang of thugs who are threatening them.

After Queen Victoria learns of the blackmail attempt, Gull is once again enlisted, this time to silence the group of women who are threatening the crown. Gull, a high-ranking Freemason , begins a campaign of violence against the four women, brutally murdering them with the aid of a carriage driver, John Netley. While he justifies the murders by claiming they are a Masonic warning to an apparent Illuminati threat to the throne, the killings are, in Gull's mind, part of an elaborate mystical ritual to ensure male societal dominance over women.

As the killings progress, Gull becomes more and more psychologically unhinged, until he finally has a full psychic vision of the future while murdering Kelly.

The story also serves as an in-depth character study of Gull; exploring his personal philosophy and motivation, and making sense of his dual role as royal assassin and serial killer. Though rooted in factual biographical details of Gull's life, Moore admitted taking substantial fictional license: Gull takes Netley on a tour of London landmarks including Cleopatra's Needle and Nicholas Hawksmoor 's churches , expounding on their hidden mystical significance, which is lost to the modern world.

Later, Gull forces the semi-literate Netley to write the infamous From Hell letter which lends the work its title. Following this, several people write letters to the police claiming to be the murderer, and the nickname " Jack the Ripper " becomes a household name. Gull has a number of transcendent experiences in the course of the murders, culminating with a vivid vision of what London will be like a century after the last murder.

It is implied that, through his grisly activities, male dominance over femininity is assured, and the 20th century is thus given its dominant form, though Gull finds it disgusting nevertheless. Inspector Frederick Abberline investigates the Ripper crimes without success until a fraudulent psychic, Robert James Lees , acting on a personal grudge against Gull, identifies him as the murderer.

Gull confesses, and Lees and Abberline, shocked, report the matter to superiors within the police, who cover up the discovery. They inform both Abberline and Lees that Gull was operating alone, and gripped by insanity. Abberline later discovers through chance Gull's actual intentions to cover up the matter of the royal " bastard " fathered by the Duke of Clarence, and resigns from the Metropolitan Police , protesting the official cover-up of the murders.

Gull is tried by a secret Freemasonic council, which determines he is insane; Gull, for his own part, refuses to submit to the council, informing them that no man amongst them may be counted as his peer, and may not therefore judge the "mighty work" he has wrought.

A phony funeral is staged, Gull is imprisoned under a pseudonym "Thomas Mason", and the Freemasons frame boarding school teacher Montague Druitt as a suspect, killing him and making it look like suicide. Years later, and moments before his death, Gull has an extended mystical experience, where his spirit travels through time , observing the crimes of the London Monster , instigating or inspiring a number of other killers Peter Sutcliffe , Ian Brady , causing Netley's death, as well as serving as the inspiration for both Robert Louis Stevenson 's Strange Case of Dr Jekyll and Mr Hyde and William Blake 's painting " The Ghost of a Flea ".

The last experience his spirit undergoes before it "becomes God" is a view of a woman, who, in the novel's appendices, is implied to be Mary Kelly. She is apparently able to see his spirit and abjures him to begone "back to Hell". From Hell was partly inspired by the title of Douglas Adams ' novel Dirk Gently's Holistic Detective Agency , in that it explores the notion that to solve a crime holistically , one would need to solve the entire society in which it occurred.

But as Gull remarks, "Averting Royal embarrassment is but the fraction of my work that's visible above the waterline. The symbolism of London's landmarks is explored in the fourth chapter, in which Gull explains his motives to his uncomprehending coachman, and employs psychogeography to tie together these landmarks with the city's history. Gull is depicted as a misogynist who opposes women's suffrage , along with other progressive movements of his time.

Women had power over men once, Gull believes, and the irrational, Dionysian unconscious mind once dominated the rational, Apollonian conscious mind. Moore cites writers such as Marilyn French and Robert Graves , who argue as the fictional Gull does that women held both political and religious power prior to the rise of patriarchal religions such as Christianity.

Gull is reason's lunatic: From Hell also explores Moore's ideas on the nature of time. Early on, Gull's friend James Hinton discusses his son Howard 's theory of the "fourth dimension", which proposes that time is a spatial dimension. All time co-exists, and it is only the limits of our perception that make it appear to progress. Sequences of related events can be seen as shapes in the fourth dimension: Moore had earlier explored similar ideas in Watchmen , where Doctor Manhattan perceives past, present and future simultaneously, and describes himself as "a puppet who can see the strings".

Also, they prefigure a lot of the horrors of the 20th century. He notes that the s saw the Mahdi uprisings, the first time the Western world had to face militant Islamic fundamentalism ; physicists were beginning to make discoveries that would pave the way to the atomic bomb ; and the growth of both Zionism and anti-Semitism. The period of the killings coincides with the conception of Adolf Hitler and the final scene alludes to the outbreak of World War II.

After the final murder, during which Gull has an extended vision of s England, Gull says, "It is beginning, Netley. For better or worse, the twentieth century. I have delivered it. Much of the metaphysical speculation in From Hell can be attributed to Moore's embrace of gnosticism , which takes a more central role in his other work, most notably his comic series Promethea. On a more prosaic level, Moore indicts the inequalities of Victorian society, contrasting Gull and the wealthy circles he moves in with the hand-to-mouth existence of the women he targets; the moral disgust shown at the peccadilloes of the poor with the depths to which the rich are prepared to sink to protect the image of propriety; and the imaginary anti-Semitic conspiracy theories which divert the police's investigations with the real conspiracy that controls them.

During one murder, scenes from the killing are interspersed with scenes from a nearby meeting of a socialist club, addressed by William Morris , where a portrait of Karl Marx comes to dominate the scene. In his appendix, Moore sardonically expresses regret that England never had a revolution as France did. Just about every notable figure of the period is connected with the events in some way, from "Elephant Man" Joseph Merrick to Oscar Wilde , from the Native American writer Black Elk to William Morris , the artist Walter Sickert to Aleister Crowley , who makes a brief appearance as a young boy in short trousers, sucking on a candy cane, and lecturing the police about magic.

According to his notes in his appendix, Moore was somewhat inconsistent with how "historically accurate" the events within the graphic novels are. On one hand, he revealed that he had actually written an entire scene where Abberline gets into an argument with Buffalo Bill and Annie Oakley ; he rewrote it after research revealed that Buffalo Bill had left England by the time of the murders.

On the other hand, again according to his own notes, he had William Morris appear in London on the night of one of the murders, although historical records show he was out of town that night.

Morris, however, does not interact with any of the characters, but is simply seen reading his poem "Love Is Enough", while Gull murders Elizabeth Stride in the alley below. In The Dance of the Gull Catchers Moore reports that he had been drawn into and even obsessed with the particulars of the Ripper murders. The Ripperologists—or "Gull Catchers" as he refers to them—are depicted as unhinged men running about with large butterfly nets, chasing details and connections, however tenuous.

Initially, Moore observes them from a distance, but eventually—while researching and writing From Hell —he joins them. Moore compares the multitude of increasingly outlandish Ripper theories to a Koch snowflake , where a finite, fixed location, event and era London, in late can have an infinite number of nooks and crannies. Ultimately, Moore observes that the longer the Gull Catchers chase after the Ripper, the more the ground underneath them becomes churned and unrecognisable mud; their attempts to uncover the truth only serve to obscure it and cause further confusion.

FX is developing a From Hell drama series with Don Murphy who produced the film, is executive producing and David Arata will write the adaptation. From Wikipedia, the free encyclopedia.

This article is about the graphic novel. For the film adaptation, see From Hell film. For the original letter, see From Hell letter. For other uses, see From Hell disambiguation.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. November Learn how and when to remove this template message. The Comics Journal , February Retrieved 30 August Swamp Thing Watchmen Batman: The Stories of Alan Moore. Jack the Ripper in fiction. The Lodger Jack the Ripper: Waxworks The Lodger: Madrid Days Batman:

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