I had to draw it in a way that was vague. If we don’t have the evidence for it, we’re only hinting at it, that it might have happened this way. I mean it might be, but who can say for certain?” That required a lot of foggy drawing, a lot of soft focus where things are not definitely so. I was trying to develop a style of deniability where we could always say, “oh no, it’s not her at all. Like, this woman called Emma - she could’ve been Mary Kelly, but we’ll only show her from the back, slightly out of focus, so you can’t be sure. Like sometimes we’re saying this person could have been here, but make it so it’s deniable. There were all kinds of obscurities and anomalies that I had to take into account. I’m trying to draw the actual Victorian London. Watchmen doesn’t have a single line out of place. I mean not Dave Gibbons, he never gets lazy. With 600 pages, an artist can get lazy occasionally. Yeah, the phrase we’re using is I’m revising it for “color, clarity, and continuity.” Sometimes if things aren’t clear enough, I can go in and clarify what’s going on. If he had known this would be 10 years’ work, he would’ve made a model and looked at it from different angles to get the coach consistent. A more organized artist would have made a little model. Sometimes they tend to be driving a different coach from one panel to the next. Not redraw the whole thing, but in 30 years, there have been so many things I look at and think, “that’s a mistake.” Like what coach they’re driving. I thought I’d love to go back to From Hell and do it over again. I can get a rich palette of color on the computer.

I can take a cross-hatched blue sky, and make the cross-hatch blue, and then put a different blue behind it, so it’s a rich blue and not just blue with black all over it. But with the computer, I can take what used to be black ink and make it red. If you’re just coloring something in, you can’t turn something from black into red, you can only make it a reddish-black.

ENTERTAINMENT WEEKLY: What’s your process been like, as you color and update From Hell?ĮDDIE CAMPBELL: I never thought it could be done before because putting colored inks on top of black-and-white artwork can only make it darker and more oppressive.

From hell alan moore master edition