Moore's concept was beautifully grand and imprecise, but the end result was a narrative much too narrow to hold it. The book makes the concerted effort to illustrate that the killings begin at the same instant of Hitler's conception.

Jack acts as "midwife to the 20th century", delivering the next 100 years of Holocaust, serial killing and media rapaciousness as he extracts his last victim's heart. Moore’s scrupulous adherence to the facts in the case gulls the reader into thinking that Moore himself must be scrupulously recreating a scenario he believes to be true, and yet in the final pages of his work—”The Dance of the Gull Catchers”, a history of “Ripperology”—he adopts a pose of profound skepticism: The complex phantom we project. Wer sich als Leser auf dieses Mammutprojekt einlässt, tut gut daran, schon einiges Hintergrundwissen über die Protagonisten und Theorien rund um die Whitechapel Morde zu haben.With so much to choose from, so much material from which to take inspiration, I was nonplussed by the sketchy, lackluster lines chosen define this story. Finally, he admits we will never know whodunnit and he admits that that is not the point, for any of the Ripperologists.

Nevertheless, this is an ambitious and good piece of work and it deserves all the recognition it's gotten over the years. Having gotten up at 4:00 am that morning, I was exhausted at lunchtime, so I kept dozing off with a book in front of me open to what looked like straight-up pornography. you know the entire plot twist and who committed the murders right from the start so all that's left is a bunch of pretentious rambling for 500 pages coupled with annoying sketchy black and white artwork and a lot of awkward sex scenes. Von Anfang an wird um die Hintergründe kein großes Geheimnis gemacht, was der Erzählung ein wenig die Spannung nimmt. And even if there was anyone in fiction or reality who could fight them, the time window would always be too short, their traces washed away, and millions of ambitious young fish fighting to get to the top by protecting and serving their alien overlord masters.The result is at once a meditation on evil, a police procedural and a commentary on Victorian England. Inspector Frederick Abberline, who once patrolled Whitechapel as a police officer, investigates the Ripper crimes without success. When Queen Victoria finds out she has Prince Albert confined to the Palace and the wretched prostitute sent to Bedlam, the famous madhouse. Knight's theories have been described as "a good fictional read" whose "conclusions have been disproved numerous times".

There is little sense of form or gesture, flow and movement are lacking, and worse, the stark balance between the white and black spaces--the very power of pen-and-ink work--is absent. Allerdings stellt sich die Frage, weshalb er einen Großteil der Informationen nicht gleich in seinen Zeichnungen untergebracht hat, sondern den Leser nötigt sich erst durch die Anmerkungen zu arbeiten. Habiendo demostrado ser incomparable en el campo de la reinterpretación de superhéroes, Alan Moore dirigió su ojo siempre incisivo al mundo sórdido y enigmático de Jack el Destripador y los asesinatos de Whitechapel de 1888. La historia de Jack el destripador siempre ha suscitado morbo e incertidumbre, y esta obra se decanta por algo que puede ser plausible, pero siempre dejando claro que es la visión del autor. The depiction of the murders themselves—particularly their climax, the murder of Mary Kelly, which takes up an entire chapter—is horrific and merciless, explicit and graphic.Moore and Campbell's autopsy on the emaciated corpse of the Ripper myth has divulged a deeply disturbing yet undeniably captivating masterpiece. The big fishes are in such deep water that they hardly ever get caught except when they pop up to slaughter some victims. Moore knows this as well as anyone, pointing out in his afterward that the whole thing has become a silly game, a masturbatory immediately recognizable to anyone familiar with discussions on the levels of Star Wars canon or Gandalf's particular racial background.