Did you see something in this comment that didn't meet our terms and conditions? If so, thanks for letting us know. If you inadvertently reached this page, you can use your browsers "back" button to get back on track.
Keep in mind that this form is intended only for reporting comments that violate our terms and conditions. Your report will not be published on the website and will not be sent to the comment author.
You are reporting a comment on the following title:
Moore and Campbell's work is astoundingly good in this volume, crafting a literary tale unique to the medium of comics and sequential art. The comic is everything that the film wasn't, an erudite fictional examination of the world and circumstances during which the Whitechapel murders took place. Though Moore based the plot principally on one of many contentious theories about the identity of Jack the Ripper, the book isn't about that, so much as it's about the character of the principle actors in the drama, and their attempts to live in a tumultuous era that Moore sets up as the gateway to the horrors and wonders of the 20th century.
Campbell's art sometimes feels cramped by the density necessary to convey Moore's plot, but his art seems to become more precise and focussed as the narrative continues. The black and white style of the book lends it a stripped down feel, laid raw by Campbell's style. This helps add a hefty emotional weight that would be lost with the high-production color values of mainstream comics.
In addition to the work itself, Moore supplies an appendix of notes to the reference material he used to meticulously craft the setting and dialogue of many of the historic scenes (taken virbatim from historical accounts when possible). He and Campbell have a second appendix, a brief comic about the armchair historian quest to discover the identity of Jack the Ripper, and the unlikelihood that it will ever come to fruition.
A fantastic work, and worth checking out both for fans of great comics and fans of great literature.
Terms and Conditions
We welcome your comments and ideas, but we ask that you refrain from:
Obscenity
Spam
Illegal content
Copyrighted material
Commercial solicitations
By posting your comments you are granting the good people of Powells.com the right
(but not the obligation) to make your comments available to others over the
Internet, and to copy and distribute your comments via other media, in each case
on a royalty free basis. These terms govern the rights and obligations of the
person posting comments and Powells.com; there are no intended third party
beneficiaries of these terms.
Posted comments are subject to monitoring, editing, and removal at any time.
Please see our Terms of Use for our complete terms and conditions.
Read the INK Q&A with Nikolai Grozni and save 30% on Turtle Feet: The Making and Unmaking of a Buddhist Monk.
You are reporting a comment on the following title:
You are reporting the following comment:
Blake, April 18, 2008
Moore and Campbell's work is astoundingly good in this volume, crafting a literary tale unique to the medium of comics and sequential art. The comic is everything that the film wasn't, an erudite fictional examination of the world and circumstances during which the Whitechapel murders took place. Though Moore based the plot principally on one of many contentious theories about the identity of Jack the Ripper, the book isn't about that, so much as it's about the character of the principle actors in the drama, and their attempts to live in a tumultuous era that Moore sets up as the gateway to the horrors and wonders of the 20th century.Campbell's art sometimes feels cramped by the density necessary to convey Moore's plot, but his art seems to become more precise and focussed as the narrative continues. The black and white style of the book lends it a stripped down feel, laid raw by Campbell's style. This helps add a hefty emotional weight that would be lost with the high-production color values of mainstream comics.
In addition to the work itself, Moore supplies an appendix of notes to the reference material he used to meticulously craft the setting and dialogue of many of the historic scenes (taken virbatim from historical accounts when possible). He and Campbell have a second appendix, a brief comic about the armchair historian quest to discover the identity of Jack the Ripper, and the unlikelihood that it will ever come to fruition.
A fantastic work, and worth checking out both for fans of great comics and fans of great literature.
Terms and Conditions
We welcome your comments and ideas, but we ask that you refrain from:- Obscenity
- Spam
- Illegal content
- Copyrighted material
- Commercial solicitations
By posting your comments you are granting the good people of Powells.com the right (but not the obligation) to make your comments available to others over the Internet, and to copy and distribute your comments via other media, in each case on a royalty free basis. These terms govern the rights and obligations of the person posting comments and Powells.com; there are no intended third party beneficiaries of these terms. Posted comments are subject to monitoring, editing, and removal at any time. Please see our Terms of Use for our complete terms and conditions.Children's Online Privacy Protection Act
In accordance with The Children's Online Privacy Protection Act, you must be at least 13 to submit comments on Powells.com.