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Though this book bears strong foreshadowings of Moore's later independent work (e.g., Snakes and Ladders, Highbury Working), this was a bold and brilliant book. Little of the story here is original, as Moore largely admits in his notes, but he takes threads from various previous works on Jack the Ripper (most notably Stephen Knight's largely discredited 'royal conspiracy' tale, Jack the Ripper: the Final Solution) and weaves them as only he could into a gorgeous tapestry of black and white.
From Hell is a book only Alan Moore could have created: it takes old stories, facts and magical fantasy, then creates something entirely new and entirely his own.
Eddie Campbell's art is particularly apt to the tale. Though a bit rougher than many mainstream readers are likely to enjoy, his style ranges from what looks like brutal attacks to the page all the way to delicate strokes and draughtsmanly precision. Many other artists could turn a book this complex and visually challenging into a black-heavy mess, but Campbell's technique fits it perfectly. There was only one panel that took more than a second to 'read' what was going on; in a book this size, in black and white, that's an admirable rate.
My only problem with this book is not one having to do with content, but with editing: Moore's excellent and entertaining notes are an education in themselves, but if anyone proofread them I'd be shocked.
I can't recommend this book for just anyone, as it does get rather grisly at times, but anyone with a strong stomach and a taste for dark fiction would be able to pick this up and get a full, satisfying and engaging read. (My advice for those who wish to read the notes is to read the book in its entirety first, and then maybe re-read each chapter with accompanying notes after.)