From Hell

From Hell


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Alan Moore (Watchmen) and Eddie Campbell (Bacchus), grandmasters of the comics medium, present a book often ranked among the greatest graphic novels of all time: From Hell.

Two master storytellers. Five unsolved murders. A hundred years of mystery. One sprawling conspiracy, one metropolis on the brink of the twentieth century, one bloody-minded Ripper ushering London into the modern age of terror, and one comics masterpiece. From Hell is now available in a handsome hardcover edition, with a brand new cover.

Product Details

ISBN-13: 9781603093972
Publisher: IDW Publishing
Publication date: 10/04/2016
Pages: 560
Sales rank: 172,554
Product dimensions: 7.80(w) x 9.80(h) x 1.80(d)
Age Range: 16 Years

About the Author

Alan Moore is widely regarded as the best and most influential writer in the history of comics. His seminal works include Miracleman and Watchmen, for which he won the coveted Hugo Award. Never one to limit himself in form or content, Moore has also published novels, Voice of the Fire and Jerusalem, and an epic poem, The Mirror of Love. Four of his ground-breaking graphic novels—From HellWatchmenV for Vendetta, and The League of Extraordinary Gentlemen—have been adapted to the silver screen. Moore currently resides in Northampton, England.

Table of Contents

Introduction to Spiritualism, Basic Ideas, Is Spiritualism a religion or a way of life?

Why are so many Christians antagonistic to/ fearful of Spiritualism?, What kinds of people are drawn towards Spiritualism?, Some say that it is only weak-minded people who are drawn to Spiritualism. Is that true?, It is said that Spiritualists invoke evil spirits: is this true?

Spiritual Beliefs

What is the primary belief of Spiritualism?, How does a Spiritualist’s belief in God differ from that of a Christian?, Who, or what, do Spiritualists worship?, Do Spiritualists believe in Hell?, Is Spiritualism affected by Eastern religions?, Does Spiritualism have anything comparable to the Ten Commandments of Christianity?

Spiritualist Jargon

What does ‘on the platform’ mean?, What does ‘sitting in circle’ mean?, What is a séance?, What is Reincarnation?, What is regression?, What does ‘psychic’ mean?, What is an aura? Can it be seen?

Spiritualist Practices

How are evil forces kept out of Spiritualist services?, Do Spiritualists all take part in séances?, Do all Spiritualists get involved in regression?, How does a Spiritualist church differ from other churches?, Does one have to be invited to join a Spiritualist church?, What is the normal format of a Spiritualist church service?

Guides and Inspirers

What is the difference between a guide and an inspirer?

Spiritual Protection

What is ‘spiritual protection’, and why is it needed?, Is spiritual protection needed if one is not a Spiritualist?

What is Mediumship?

What is a medium?, What is the difference between a medium and a clairvoyant?, Are there any mediums who are not clairvoyant?, Can anyone be a medium?, Can both men and women become mediums?, Can anyone learn how to be a medium by reading a book?, Mediums talk about ‘links’: what are they?, How does a medium prepare for a demonstration?, What is the difference between ‘a message’ and ‘a reading’?

What are the Different Types of Mediumship?

How does a healing medium work?, What is a healing cure?, Inspirational speaking, Channelling, What are ‘rescue circles’?, Clearance, Precognition, Dreams, Psychometry, Special clairsentience, Aura reading, Psychic art, Musical composition, Automatic writing, Physical mediums, Table-moving, Transfiguration, Materialisation, Apports, Direct voice, Orbs and electrics, Powerhouse, Russian experiments, How are Mediums Trained?, Is it possible to learn mediumship by yourself, or do you need to engage a teacher?, What happens on a medium training course?

Biblical Justification

Are Spiritualism and Christianity mutually exclusive?, Clairvoyance and clairaudience, Healing, Inspirational speaking, Bestowing of spiritual gifts, Dreams

Organisation of Spiritualism in the UK

Is there any organisational HQ for Spiritualism, similar to the Vatican in Rome?

The Scientific Background

What is Kirlian photography?, Some Spiritualists talk of ‘chakras’? What are they?, What are ‘spiritual vibrations?’ Are they any different to ‘scientific vibrations?’, What is a dimension?, What are in the other dimensions?, Do ghosts exist, and if so what are they?, What is the difference between ‘right- and left-brain activity?’


What is meditation?



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From Hell 4.2 out of 5 based on 0 ratings. 37 reviews.
Guest More than 1 year ago
This book was intelligently written and beautifully drawn. The best graphic novel I have ever read period. All the characters are well developed and the authors let you into each one of their psyches. I just hope the movie with Johnny Depp and Heather Graham is as good.
Guest More than 1 year ago
A great book for anyone who is intrigued by the Jack the Ripper case. This book offers a very possible explanation to the awful tragedy that once befell WhiteChapel. It's very believable in that interwoven throughout the illustrated novel are actual facts from the case files. This is an absolute must have.
Guest More than 1 year ago
This novel is not for the weak of stomach or the easily offended, but those who are game will find themselves greatly rewarded. Trying to sum up this monumental work in such a limited space would be foolish, so I won't try. Suffice it to say that Moore's dialogue and plotting are ingenious, Campbell's artwork is stunning, and the historical-footnotes appendix is greatly informative. Don't be put off by the fact that this is a 'funny book.' Comics can be serious, too, and this one is seriously good.
_________jt_________ on LibraryThing More than 1 year ago
This is the first book in awhile to give me that feeling, when I had finished, of having begun a fruitful relationship with an amazing work of art.
allison.sivak on LibraryThing More than 1 year ago
The first Alan Moore book I have read. I like Eddie Campbell's brush drawings more than his scratchy pen-and-ink ones. The image and text are well-matched. It is interesting that an unsolved serial killer case is still fascinating 100 years later; maybe because it's the first instance I know of where the media are a major part of the story. I should treat library books better.
jasonpettus on LibraryThing More than 1 year ago
(Reprinted from the Chicago Center for Literature and Photography []. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally.)So in what I think is a first since opening CCLaP last year, I got a chance recently to not only read a book for the first time but also watch a movie based on it for the first time in the same week; in this case, it was the "Jack The Ripper" conspiracy tale From Hell, with the original 1999 graphic novel by Alan Moore and Eddie Campbell and the subsequent 2001 movie version by Allen and Albert Hughes, known professionally as The Hughes Brothers. I thought it'd be fun, then, to take a cue off the Onion AV Club's "Book Versus Film" essay series, and write one review encompassing them both; I'm not expecting this to happen very often in my life, though, so don't hold your breath waiting for this to become a regular series.And indeed, the only reason I took on the original graphic novel in the first place is because I'm a big fan of Moore's, with this for example being the fifth full-length project of his I've now read (after Watchmen, Miracleman, V For Vendetta, and The League of Extraordinary Gentlemen); and the reason I'm such a big fan of Moore's is because he is one of the most complex writers in the history of the comics format, penning project after project that not only have the gravitas of a traditional text-based novel but that perfectly exploit why they could only be published as comic books anyway. And in fact From Hell is yet another good example of what I'm talking about; set right before the turn of the 20th century, in the waning years of the Victorian Era, it relies as much on the pacing of the graphic boxes on each page as it does on the plot itself, with Moore deliberately breaking the story at certain points precisely because of knowing that it's where that page will end in the finished book.Taking place in a grimy, crime-filled East End London, like I said this is Moore's take on the infamous Jack The Ripper legend, the notorious serial killer from the late 1800s who was famously never caught nor even identified; and this being Moore, of course, his take on the whole affair is a complicated and fantastical one, a grand conspiracy involving the royal family, an illegitimate child, the Freemasons, a respected surgeon who doubles as a violent psychopath, brain strokes misinterpreted as religious visions, Medieval Christian churches whose architects snuck pagan references into the plans...oh, and a little time travel to boot, just in case Moore hasn't screwed with your head enough at this point. In fact, the more you read the massive From Hell (which, be warned, is almost 600 pages long), the more you realize that the Ripper story isn't really the main reason Moore even wrote this in the first place; this is more of a dark love letter to the city of London itself, one of the bastions of Western civilization and a place so steeped in history according to Moore that you can almost taste it while there. Like many of his other projects, Moore's main theme here in From Hell is actually the complex and hidden patterns that are layered one by one by society onto history, of how these overlapping patterns both work in tandem and against each other, and how in a place like London it results in a 3,000-year-old matrix of power and magic, full of "hot spots" around the city where literally dozens of important events have all transpired over the centuries.Ah, but then this delicate web is handed over to The Hughes Brothers (Menace II Society), and things start falling apart alarmingly fast; there's a reason, after all, that this was the movie to make Moore famously declare that he will never again in his life sell the film rights to any of his future projects. Although to be completely fair, the problem is not really with The Hughes Brothers per se (although as directo
sturlington on LibraryThing More than 1 year ago
From Hell is a graphic retelling of the Jack the Ripper saga, casting Dr. William Gull as the famed killer. The story features a dizzying cast of characters ¿ many of them well-known artists, authors and members of the royal family ¿ and a complex conspiracy that includes illegitimate royal children, the Freemasons and a bizarre desire on the Ripper¿s part to usher in the 20th century. The convoluted story, combined with the sometimes confusing artwork, makes events difficult to follow at times; I highly recommend reading the appendices as you go along to help make sense of it all. But the story is ultimately compelling and a good overview of the most famous serial murderer of history.
sweetzombiejesus on LibraryThing More than 1 year ago
This one took a while to grow on me. It's an ugly book -- the art seems crude and nasty... at first. But it matches some of the really ugly people and their doings. It's a lot more extensive than you can even imagine. There's appendices, for god's sake, which attribute as many facts as possible... even going so far to say, "Right. This bit in panel four? It's a hallucination so we made that up." The end bit's almost as engrossing as the actual story told.
theboylatham on LibraryThing More than 1 year ago

Six out of ten. CBR format.

Examines once against the story of "Jack the Ripper". Could it be a plot by the Freemasons? The detail of the story and the real-world details (ie. London churches) make it a believable story.

aethercowboy on LibraryThing More than 1 year ago
What if you too a holistic approach to proposing a solution to the mystery of Jack the Ripper? Well, then you'd be following in the footsteps of Alan Moore.From Hell is exactly that: a holistic approach to Jack the Ripper, in graphic novel form. If you're use to reading monthly comics, then the 560 pages of this tome might cause you to hesitate. But if you've ever wondered about Jack the Ripper and his effect on the Victorian society, then you might be interested in this work.The premise of the graphic novel is that the Queen's physician, William Whithey Gull, is, in fact, Jack the Ripper. An inspector investigates the case, trying to solve it before too many of London's "ladies of the night" meet their eviscerated fate.There are times when you'll be glad this book is in black and white.
MissLizzy on LibraryThing More than 1 year ago
This was a graphic novel recommended to me by a fellow LibraryThing'er, and I must confess that I enjoyed it. To me, it seems that every Ripper theory I read about has sufficient (although not always explicit) evidence that that particular theory is correct. Although once one has seen Walter Sickert's paintings in person, it is difficult to suspect anyone else. I did enjoy this graphic novel, but it was what it's name implies: graphic. I know that the scenes involving the murders were well-done, and accurate--all that blood would have to have been there. But some of the sex scenes I found to be unnecessary. It's just as easy to imply that kind of thing as it is to show it. But other than that, it was a good read, and gave me yet another plausible theory as to WhoDunIt. Discovered that Moore also wrote V FOR VENDETTA, which is also a graphic novel. You learn something new every day. That's going on my list of "need to buy"'s as well.
freddlerabbit on LibraryThing More than 1 year ago
This was, for me, one of these books where I was incredibly struck by the art and care with which it was done - and yet wasn't able to derive much basic enjoyment from the read. (It reminds me a bit of Foucault's Pendulum, by Umberto Eco, in that way).

From Hell essentially reviews five murders of prostitutes in 1888 attributed to the unidentified "Jack the Ripper" and locates them against a backdrop of two types of power - the first, is the visible, royal power: the Crown has authorized certain of the murders to cover up the indiscretions of one of the princes. The primary actor, the "Ripper" himself, is only too glad to carry out the Crown's wishes, because, as a member of the Freemasons at one of their highest levels, he sees this also as an opportunity to create or to access a certain paranormal power available only to the Masons by means of ritual sacrifice. The book is obsessively documented in an appendix - no surprise, given it's an Alan Moore creation - for those who are curious to explore either of the theories at greater length.

Many parts of the book are spent as the Ripper (Dr. William Gull) describes the structure of London and the placement of certain artifacts and buildings on occult lines, which the Masons know about and are keep to capitalize on. I may be something of a dilettante, but these were the parts of the book I had to struggle a bit to get through - I am unfamiliar with London's geography, and while I find the theory of these placements and power lines interesting, it was hard for me to be captivated by the minutia of them.

For all this, I was intrigued by Moore's theory, and particularly by his elaborations on what the record can tell us. Most of the characters are a bit lacking in depth - each of them stands for a single idea, in many cases, but they are still compelling as figures in the greater history. I'd recommend it as worth a read, but again, more as a thought-provoker than an entertainment.

Campbell's drawings fit the book astonishingly well. The entire work is done in black and white, not a spot of color to be found, and Campbell seems averse to coloring in dark spaces or using traditional shading - many of the dark lines and shading are done in gridding or hatchmarks, a curiously technical, engineer-like overlay that seems fitting for this moment in history. The art adapts to its subjects - members of the upper class are drawn with even faces, clean lines, fine inkwork; the lower classes are roughly drawn, features askew, lines unmatched and unkempt. I think the artwork here is brilliant.

The plot is well-paced and has a clear storyarch: things are brought to a believable, if not always satisfying end. I'd be curious to hear what students of history think about it, in addition to the fiction-focused (like myself) and fans of the graphic.

noblechicken on LibraryThing More than 1 year ago
A superb graphic novel of the Jack the Ripper story, but also a rather sooty view of Victorian society. Nothing I say here would be any different than what has already been said. Something I could add would be that this is perhaps the most thorough and engaging graphic novel out there. Subject matter would have to have your interest though.
alonelychord on LibraryThing More than 1 year ago
I loved the art, but I found it too verbose in many sections, particularly Gull's detailed monologues on architectural symbolism. It was overwhelming and a little dull, honestly. I was disappointed. I love Alan Moore and Jack the Ripper is an incredibly fascinating topic; I really wanted to love this book.
stephmo on LibraryThing More than 1 year ago
To appreciate the need to tell yet another Jack the Ripper story, it may be best to flip to the back of From Hell and read Alan Moore's second appendix first. In it, he details an interesting history of how the legends of Jack the Ripper and the "true tales" have evolved since the murders were committed. He aptly describes it at one point as a "game of Bohemian Whispers" which gives him several advantages in the telling of his story. First, he can't be blamed if he gets facts wrong, secondly, his version is not necessarily any more right or wrong than anyone else's if one takes this position - something bolstered very much by the first appendix where Moore lays out that which is drawn from fact, that which was made up for narrative sake and that which was drawn from historical context.That being said, this is an incredibly compelling version of events. In an environment where the police procedural has more than embedded itself into the pop-culture cannon, there is one truth to getting away with murder - prostitutes are disposable. And this is what makes Jack the Ripper such a compelling tale; Mary Kelly has managed to spawn her own set of legends in addition to being the alleged fifth victim. Each of the other victims is named and remembered. While many killers have garnered similar attention, finding victims that have achieved this type of canonization is a rare thing - finding this amongst the poor and supposedly disposable in our society is a rarity. So when Moore finds a fantastic tale of Freemason conspiracy, a royal love affair and four women who chose to bribe the wrong man for ten pounds leading directly to the creation of Jack the Ripper, it suddenly makes sense. Even the fourth dimension bends a bit for our killer, bleeding through from the future to show that his actions will become part of the London psyche. Before one thinks that Moore is trying to present all of this as fact, there are good portions of the story devoted to those that were taken in by the hysteria of the day. Panels of random strangers writing letters to newspapers posing as Jack the Ripper are shown, police are shown dismissing key pieces of evidence, different investigators are brought in for political reasons - it's all there to demonstrate the basic human need to muck up an already limited ability to discover evidence after the fact. (For those that must really know blow-by-blow, the first appendix details where each story element, character and even some bits of dialogue were either found or when they were invented for each page.)Cambell's drawings deserve a lot of credit. The black and white varies in style throughout - from a scratched-ink-style to a softened-smudged style that resembles charcoal drawings. For even the most gruesome scenes, one is thankful to only have the black and white drawing - color would simply have been too much for the violence his drawing clearly conveys.
TheoClarke on LibraryThing More than 1 year ago
A ferocious pastiche of Stephen Knight's seminal conspiracy theory of Jack the Ripper with Ackroyd's Hawksmoor and Sinclair's Lud Heat seasoned with Moore's love of the arcane and the referential and Eddie Campbell's absorbing concern for detail. The result is a noir master class in psychogeography and history from below. The extensive appendices further enhance what was already a remarkable series of comic strips. Given Moore's avowed aim of demonstrating that the murders were the outcome of a collective unconsciousness, I would like to have seen even more of the Ripper mythology woven into this fascinating fabric.
elenchus on LibraryThing More than 1 year ago
This edition compiles all installments along with 2 appendices: uncertain whether or not the appendices are typical of other editions, but they (esp the 1st, being source notes and commentary on the story / illustration as envisioned by Moore & Campbell) are as intriguing as any of the 16 serialised installments.The themes are compelling in their own right (Whitechapel murders symbolically ushering in the 20th century; Royal scandal and Victorian class politics; Masonic conspiracy; British mythology including London's symbolic architecture; an unflinching look at urban poverty), and are interwoven in such a way to build up a multilayered story.The art is deliberately and effectively raw, using the technical shortcomings of some images to advantage.Not as provocative or ultimately as satisfying an accomplishment as V for Vendetta, but well worth reading. I'm now curious to see the film, which up to now impressed me as a silly slasher film.
coffeesucker on LibraryThing More than 1 year ago
This book left me speechless - what a magnificent epic!
DoubleL on LibraryThing More than 1 year ago
not quite my bag, but absolutly astonishing in it's scope and the amount of almost fanatical detail and research poured into every last panel. i'd highly recomend it for anyone who is into true crime stuff, which i have a hard time with. it's a very disturbing book, gruesome in many places. but facenating. don't forget to read all the footnotes! they help!
RobProsser on LibraryThing More than 1 year ago
Moore's masterpiece.As much about the social history of 1880s London and Britaina as about Jack the Ripper. Brilliantly drawn by Eddie Campbell who superbly evokes the squalor and beauty of Victorian London. Moore;s notes at the end of the book are almost as intriguing. Be warned the authors pull no punches in the events depicted in the book. I'm luck enough to own the limited signed hardcover edition of this book and we'll never be parted!
polarbear123 on LibraryThing More than 1 year ago
Every Moore I read seems to have its own unique flavour. This one is dark there is no doubt about it and some may be put off by the intricate detail lent to the Freemasons' plot but this is superior storytelling done in graphic format, a true inspiration to others. It possibly stays with you like no other of Moore's books. A hauntingly addictive read.
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Thorne2112 More than 1 year ago
A graphic novel that is horror at its finest. There aren't any words I can muster than can match what I felt after reading this story. Absolute brilliance.
Anonymous More than 1 year ago