The From Hell Companion
The From Hell Companion
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FROM 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.
Now, Top Shelf Productions and Knockabout Comics present THE FROM HELL COMPANION, 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. 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. Joining them are Campbell’s first-hand accounts of the project’s decade-long development, complete with photos, anecdotes, disagreements, and wry confessions. 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.
that world of Gods, that, like Atlantis, sank beneath the waters of the Age of Reason. PANEL 2. NOW WE MOVE IN FOR A CLOSER SHOT OF THE PAIR, SEEN FROM THE FRONT HERE AS THEY SIT ATOP THE COACH WITH GULL ON THE LEFT AND NETLEY ON THE RIGHT. AS HE SPEAKS, GULL IS STARTING TO UNFURL THE MAP THAT HAS RESTED ON THE SEAT BESIDE HIM THROUGHOUT THIS EPISODE. IT IS A MAP OF LONDON, ALTHOUGH SINCE WE CAN ONLY SEE THE BACK OF THE MAP HERE AS GULL UNROLLS IT, THIS IS NOT YET APPARENT. NETLEY DOES NOT
rank in charge of the royal stables? Was Netley moonlighting with official property, or does he have a horse on a payment plan? Was somebody somewhere worrying about why their horse was tuckered out when they got up in the morning? We see how everybody else in the book makes a living, but Netley is a mystery. Hey, I just want the details. I’ve known some scallywags who could always manage to obtain wheels for a Saturday night, and the details were always interesting, well at least to me. A few
THE PRINCE’S TROUSERS. EDDY LOOKS SHAKEN, UNCERTAIN ABOUT WHETHER TO OR HOW TO PROTEST. MAYBE HE CLUTCHES THE BACK OF THE CHAIR FOR SUPPORT, STILL GAZING DOWN AT STEPHEN INCREDULOUSLY, TREMBLING SLIGHTLY FROM THE SUDDEN EROTIC STRESS OF THE MOMENT EDDY: J-Jem? Jem, what are you...? STEPHEN: Shhh. I want to gamahuche you, Eddy. Do say I might. PANEL 4. NOW WE START TO CLOSE IN SO THAT WE ONLY SEE EDDY ABOUT THREE-QUARTER FIGURE HERE, WITH STEPHEN ABOUT HALF FIGURE KNEELING THERE AT HIS FEET.
EXISTENCE IS INCLINED TO FALL PASSIONATELY IN LOVE WITH ANYONE HE MEETS. COUPLED WITH THIS, HIS INFANTILE NEEDS FOR GRATIFICATION MANIFEST THEMSELVES IN HIS SEX LIFE TO MAKE HIM FAIRLY PROMISCUOUS... ALTHOUGH THAT’S SOMEWHAT TOO KNOWING A TERM TO CONVEY THE CHILDISHNESS, ALMOST INNOCENCE, OF HIS EMOTIONAL AND SEXUAL EXPERIENCE. HE HAS HAD SYPHILIS SINCE THE AGE OF SIXTEEN, ALTHOUGH THIS WILL NOT MANIFEST ITS WORSE EFFECTS UNTIL LATE IN EDDY’S LIFE. AS HE STANDS WITH SICKERT HERE HE HOLDS A TOP
murdered, name of “Julia”. FRED: We’ve been assuming that was JULIA VENTURNEY... PANEL 6. SAME SHOT, BUT WE MOVE CLOSER IN UPON THE ABBERLINES, SO THAT WE SEE FRED AROUND HALF FIGURE AS HE SITS THERE NOW WITH FILES ON LAP, EXPLAINING DETAILS OF THE CASE TO EMMA, WHO STANDS QUIETLY THERE BEYOND HIM WITH HER HAND UPON HIS SHOULDER. FRED: Now she’s a laundress with a room in Miller’s Court. Why would she NEED to stay with Kelly? EMMA: I don’t know, dear... PANEL 7. CONTINUE TO CLOSE IN SO