![]() It’s also harder to gloss over the Ripper’s victims namely Mary Kelly and their outfits conveying bright pretty yet faded colors and the slight rose tint of their bodies which is also their trade and often means of survival (though at times, their skin appears faded and drained when worn down by the hardness of their lives. The big question is this: does the Master Edition improve on Moore and Campbell’s original work? For me, the answer is a resounding yes. However, 30 years later, Campbell finally accepted the challenge and chose to do all his coloring digitally with all of its palates and options previously unimaginable. The black and white was so intrinsic to the book that Campbell refused initial offers to color it, believing it impossible due to the difficulty of putting color inks on top of originally black and white artwork. Printing anything in color was difficult, laborious and expensive, especially in cash-strapped 1980s Britain. ![]() ![]() Despite how it might seem, the decision to tell this story in black and white was purely one of economics. Readers would’ve undoubtedly noticed the series was presented in rough black and white, from lightly sketched pieces almost resembling illustrated magazines of the Victorian era, to oppressive all-consuming nightfall or shadows whose presence in the book is rivaled by one element blood - which glistens like midnight. ![]()
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