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In 1888, England experienced a crime wave like no other. During the course of only a few months, murders by the dozen were committed and/or uncovered, the widespread death and tragedy striking fresh fear into the hearts of both the rich and the poor alike. This was the Autumn of Terror. While many criminals operated during this time, none have remained as infamous as the monstrous and mysterious serial killer simply called…JACK THE RIPPER. His(?) identity unknown even to this day, this brutal murderer slaughtered several innocent women. Though the number of his crimes were relatively small, the horrific nature of the slayings, mixed with the fact he was never apprehended, and this mixed with the nefarious title by which we know him, made the Whitechapel Murderer an almost legendary figure. Even to this day, he is a symbol of nightmarish perversion and pure evil; a bogeyman from over a century ago, who remains just as frightening today as he would have been back when his crimes were new.
The ghoulish pall of Jack the Ripper, along with his anonymity, has made this fiend arguably the most well-known serial killer in all the world, and many a fictional work has been made using the monster as inspiration. Because he was never caught, artists, writers, and directors of all sorts have found numerous ways to reimagine the demon and his hideous killing spree. Indeed, some have stated that the Ripper – in reality a very common cutthroat – is practically GLORIFIED today.
Now, to an extent, this may be true. I would like to say right now that it is important to keep in mind that the Ripper WAS a very real, very twisted human being. It is equally important to keep in mind that his victims were just as real, and even today, the horrible impact of his crimes is felt, as descendants of the victims find their past filled with unspeakable atrocities, and victims of the numerous suspects of the crimes find their ancestry filled with notoriety and uncertainty. But I think the argument could be made that the vast awareness of Jack the Ripper and his crimes has some merits. For one thing, it ensures that these terrible crimes are never forgotten. For another thing, it is worth pointing out that creative people will always look to real-life for inspiration, and they will always take creative liberties with these people and their stories. Provided it is done in a tasteful and intelligent manner, this will always be understood and considered generally acceptable.
With that said: like so many others, I have always been fascinated by the mystery of this serial killer, and I have actually researched this case a fair deal. And given that the sinister world of Jack the Ripper has recently helped birth a film I absolutely love, it seems the time has come to take a look at how the Whitechapel Murders have inspired creativity and seeped into popular culture. So, grab your Gladstone bags, my little maniacs…these are My Top 12 Favorite Fictional Works Inspired by Jack the Ripper!

12. Fate/Apocrypha.
“Fate/Apocrypha” is one of the more recent inclusions in the long-running “Fate” anime and manga series. For those who don’t know, the Fate franchise focuses on a reality where magic is real, and, every 60 years (at least in most cases), mages around the world compete with each other in an event simply known as the Holy Grail War. In this version, the Holy Grail does not specifically grant immortality, but instead will grant the finder any wish they so desire. To compete, the mages summon entities known as “Heroic Spirits;” these are essentially angelic (or demonic) beings who are the living spirits of historical and mythological figures. From figures of Arthurian legend, to conquerors like Vlad the Impaler and Alexander the Great, to Shakespeare himself; these spirits come in many different forms and “classes” (sort of like a giant, psychotic RPG, I suppose), and fight for the mages against each other, in a battle to either locate, or, in some cases, simply keep hold of the Holy Grail. Now, not all of these spirits are based on GOOD people; in “Fate/Apocrypha,” one of the most disturbing spirits to appear is – you guessed – Jack the Ripper. Now, you’re probably wondering: how does one summon a spirit of a person whose identity is totally unknown? Well, that’s the clever twist this version brings to the pot: in this incarnation, Jack is not one person, but SEVERAL. She – yes, SHE – is the amalgamation of the ghosts of over ten thousand aborted children, all created in the wombs of prostitutes. This murderous, cannibalistic spirit is actually a rather tragic case; all she wants is a mother. She wants someone to love her and care for her. And, in “Fate/Apocrypha,” she gets one, as her summoner treats her like her own child and cares for her. This makes Jack one of the most sympathetic spirits in the series…but also one of the scariest. Much like the Tweedles from “Alice in the Country of Hearts,” she is a creepy kid, but she doesn’t ACT like your stereotypical “creepy kid” character. She doesn’t usually look all crazy-eyed, or cackle and shriek; she doesn’t have an empty, vacant stare or monotone voice. She acts, more or less, like a real, innocent little girl. (Even though her design is clearly not very...um…“little-girl-y.”) As a result, it isn’t Jack HERSELF we find scary, but rather what she DOES. Because, as you can imagine, this knife-wielding Assassin-type spirit packs a powerful punch, and her literal bloodlust is rather unnerving. It’s a very unique and curious interpretation of the Ripper, and definitely worth mentioning on this list.

11. Batman: Gotham By Gaslight.
I spoke of the movie adaptation of this famous graphic novel in my previous list. And, yes, that movie was, indeed, what inspired me to make this list now in the first place. I was originally going to save it for Halloween…but don’t worry, knaves, I have plans for October.
ANYWAY: this comic was the very first DC Elseworlds story. It reimagines Batman as a hero of the late Victorian era, and has him facing off with – you guessed it – Jack the Ripper; a battle which becomes increasingly personal, as Bruce Wayne gets framed for the Ripper murders, and later discovers that the Ripper is, in fact, an old ally and friend. The movie keeps these bare bones essentials, but shifts things around a lot; the plot is virtually nothing like the comic beyond these simple, basic story elements. Even the Ripper’s identity is changed between the version in the comic and the version in the film! It should also be noted that the way the two versions approach Jack the Ripper is rather different: first of all, in the comic, the Ripper is a native murderer of London, as he was in history, who travels to America and continues his work in Gotham City. This allows for historical accuracy in the graphic novel, since it gives a possible explanation for why the murders in London suddenly stopped, as well as making sure the historical facts of the case are not ruined. The film, however, is quite different; even though Gotham remains an American city in the movie, the Ripper here is depicted as being native to Gotham, not Whitechapel. Similarly, none of the historical victims are even MENTIONED in the film. Both are valid approaches to such an intriguing subject; one allows for creative license, while keeping history in mind, while the other just throws history out the window and chooses to delve completely into fiction. You can argue which is the better course, and which adaptation you like best, but in either event, it’s just a lot of fun to see Batman face off against Jack the Ripper. The Dark Knight is a hero immersed in shadows and fog, draped in black, who prides himself on stealth and intelligence above all else; the Ripper, both historically and fictionally, is a figure with similar ideals, only he uses (and used) them for vile purposes. The Ripper sought to destroy lives; Batman seeks to uphold them. The added fact that the Ripper is made to be a friend, even something of a mentor, to Bruce Wayne in both versions is also very interesting, adding only another layer to the impact of such a chilling encounter.

10. John Doe: Shock to the System.
If you haven’t heard of this show, I wouldn’t be surprised. This was a relatively short-lived series that ended very abruptly…on a cliffhanger, no less! Which is a shame, because it is a pretty interesting crime drama series. The plot focuses on a man who wakes up one morning with amnesia; he has no idea who he is, where he comes from, etc. He finds he is color blind, and seems to have an odd brand on his skin. But strangest of all, his brain has become a human supercomputer; able to access just about any piece of information known to mankind. He calls himself “John Doe” (because if he has no name, why not?), and uses these talents to help the police, while at the same time trying to find out more about his past. This is a fun premise, and this episode is undoubtedly the best in the show’s sadly-only-a-single-season-long run. Taking place towards the end of the season/series, Doe gets struck by lightning, and even though he survives, the lightning strike messes with his mind. He suddenly is no longer color blind, and finds that his once mighty mind has been reduced to that of a fairly normal human being. And such a strike couldn’t have come at a worst time, because he finds that someone is going around town in a hooded cloak, wielding a knife, murdering people in what seems to be a very accurate attempt to replicate the crimes of Jack the Ripper, even going by the same moniker. Already, this set up is AMAZING; I’m not even sure I have words to describe such an ingenious idea for an episode in a show like this! To make it all even better, however, the twist when it’s revealed who this “New Ripper” is turns out to be just as spectacular as the rest of the show. It is a double-twist, of sorts; not only turning the episode, itself, on its head, but turning the very myth of Jack the Ripper topsy-turvy, too! In short, it’s a brilliant little story from a brilliant little series, both of which deserve much, MUCH more attention. Check it out when you get the chance!

9. The 1988 Miniseries.
A four-part miniseries starring Michael Caine as Inspector Frederick Abberline, and with a MASSIVE cast. This one focuses much more on the mystery of the case than on the Ripper himself, compared to a lot of other fictional works involving the notorious swine. It essentially plays out as a rather straightforward “whodunnit?” style mystery, with the majority of the story looking into Abberline’s life and work, rather than Jack the Ripper as a character. That, however, is the beauty of this piece. It gives a greater sense of scope and even power to the Ripper, because we really get a feel for the world AROUND these foul deeds, and understand the people involved in the case at every turn. Especially Abberline himself; Caine gives a powerhouse performance, as usual, and the writing and direction really have you rooting for Abberline, and make it very clear that he’s not the incompetent bungler many takes on the case paint him out to be. He’s not dimwitted, just a little out of his depth; everybody is. This, in a way, actually heightens the Ripper’s presence; he’s not as physically noteworthy as in other versions, but the tension that seems to pervade the very air these characters breathe is palpable and intense. It’s a good ol’ fashioned murder mystery, in every sense of the term. It’s also one of a few takes on the Ripper case to be inspired by the infamously redonculous “Royal Conspiracy,” which just gives it even more atmosphere, and adds to the drab, gloomy mood of the story. Compared to many other reimaginings, it’s a little bit slower-paced and a little drier; again, more of a classic detective story than your typical Ripper reinterpretation…but if that sounds up your alley? Watch it at the first chance you get.

8. Pandora’s Box.
One of the last hurrahs of German Expressionist silent cinema, this 1929 film is pretty easy to sum up. The movie plays out almost like a twisted fairy-tale: it focuses on a beautiful but hedonistic young woman simply called “Lulu.” Lulu is the classic depiction of a seductress; a cunning, manipulative, vain young lady fueled almost completely by raw sexuality, using her whiles to get anything (and anyone) she wants. While the film makes it clear she isn’t a terrible person, and several of the people around her are actually quite awful themselves, it is this irrepressible vice of hers that constantly gets her and hers into trouble. The film is something of a tragicomedy; Lulu’s exploits are often as amusing as they are unnerving, and for every scene that helps us sympathize with her, another scene pops up that makes us want to shake her by the shoulders and shout, “What the heck is wrong with you?!” Ultimately, Lulu’s complete inability to NOT make out with every random guy she meets leads to her undoing, as she unwittingly invites Jack the Ripper himself (whose true name is never given) to her apartment. You can imagine how things go from there. It is ultimately a cautionary tale about the dangers of lust and of talking to strangers; a bit like a more adult-themed version of Little Red Riding Hood. The expressionist style design, and Louise Brook’s touching and yet also glamorous performance as Lulu (matched only by Gustav Diessl as the Ripper, and future Dracula, Francis Lederer, as one of Lulu’s more noteworthy lovers) carries the film brilliantly. It’s an eerie and yet somewhat comical sort of story, and makes this perhaps one of the most complex and stylish films from the last days of the silent era.

7. Dr. Jekyll & Sister Hyde.
Robert Louis Stevenson’s classic gothic novella, “The Strange Case of Dr. Jekyll & Mr. Hyde,” actually has quite a history with Jack the Ripper. Not long after the book was published – and a very successful stage play based on it was put on in the West End, starring then-well-known actor Richard Mansfield in the dual title role(s) – the Autumn of Terror rocked the nation. Mansfield himself was, at one point, even considered as a suspect in the crimes, as his performance as the evil Edward Hyde was apparently so convincing, people thought he may truly be deranged, and committing the acts AS Hyde! (Odd theory, to say the least.) As it turns out, both the Ripper AND Jekyll & Hyde have a long history with the age of Hammer Horror as well; the much-renowned studio released a few films based on Jekyll & Hyde, and a few inspired by the Whitechapel Murders, too. However, it was this crossover between the two worlds that both audiences and critics enjoyed the most. In this story, Dr. Jekyll – already a somewhat foppish sort, as played by Ralph Bates – is a vulnerable and rather odd man, who, when he takes his potion, actually transforms into an evil but gorgeous woman, who simply calls herself “Miss Hyde,” and passes herself off as Jekyll’s sister. To create his potion, Jekyll uses parts and chemicals found only in the female anatomy; at first, he gets these with the help of the equally infamous body snatchers/secret murderers, Burke & Hare, but when they…ahem…“go out of business,” Hyde resorts to murdering random prostitutes to get the parts they need, thus creating the legend of Jack the Ripper. The film, as a whole, rides a fine line between an all-out exploitation horror film, and a genuinely smart and even sort of deep picture. It was a little ahead of its time, and tackled a touchy subject (you can guess which one) in a fun and frightful way, without ruining the subtlety of both that subject matter and Stevenson’s story. The Ripper Murders blend right in seamlessly with this context, and definitely make this perhaps the most unique and successful crossover between the mad doctor and his alter ego, and the Butcher of Whitechapel.

6. The Lodger.
Written by Marie Adelaide Belloc Lowndes. (Wow, what a name.) Simply put, this book is the single most influential Jack the Ripper-based story of all time. It has been adapted no less than five times in film, another five times in radio, and there’s even an OPERA based on it! What makes this story so powerful? Well, it’s simplicity, really. To put it bluntly, the plot is about a female Victorian lodging house owner, who receives a guest, and falls in love with them. That’s…basically it. The twist, of course, is the that the guest is implied to be Jack the Ripper. That’s right: IMPLIED. The book leaves things ambiguous as to whether the mysterious titular character is truly the Ripper or not. Many adaptations tend to ditch this ambiguity; in the 1927 silent film, directed by the legendary Alfred Hitchcock, the lodger (played by Ivor Novello) is revealed to be a person who is actually trying to catch the murderer (who, in the film, is given the title “The Avenger,” though the Ripper is still clearly who he is meant to be). Contrariwise, in another film adaptation, re-titled “The Man in the Attic,” in which Jack Palance played the lodger (named “Slade”), the suspicions of the woman running the place are confirmed, and he is proven to be the Ripper. But it’s the original book’s malevolent ambiguity that I feel works the best; it latches on to what makes the Ripper so alluring to us even to this day: the mystery. The story is a gothic romance filled with shades of gray, leaving you with few answers, and a whole lot of questions. It makes your skin crawl, yet it also makes your heart soar. Despite how often it has been adapted, I often feel it’s a somewhat underrated tale; when people talk about the great dark romances, great gothic horror tales, and even the great mystery or crime stories of all time, this one somehow never gets mentioned. The Phantom of the Opera, Dracula, The Hound of the Baskervilles; all of them are discussed…but The Lodger somehow never gets recognized. Hopefully mentioning it on this list will fix that a bit. If you haven’t read the book, or seen/listened to any of its numerous adaptations (for radio, I highly recommend the version starring Vincent Price), do so at the first opportunity. It’s an underrated classic, in the truest sense of the word.

5. From Hell.
While “The Lodger” is the most frequently adapted story of Jack the Ripper, I think one could make the argument that this graphic novel might actually be the most famous. Maybe it’s just the circle of people I tend to be around (I am a shameless comic geek, for those who are new here), but when I talk about fiction based on the Ripper murders, it’s this story – or at least its film adaptation from 2001 – that tends to be first thing that comes up in a discussion. This isn’t a bad thing, though, by any means. Written by Alan Moore – the same genius behind “The League of Extraordinary Gentlemen” and “V for Vendetta,” among other stories – this is another story heavily influenced by the “Royal Conspiracy” theory, mixed with the “Freemason Conspiracy” theory, making for a paranoid and highly romanticized tale of the Ripper murders, but not a bad one. You see, Moore doesn’t seem to be under the delusion this is REALLY what happened, or what the Ripper was like. Rather, he uses the conspiracies and myths of the past to give the story deeper meaning, and to play with many interesting themes. It’s a story of corruption and secrecy, as you would expect, but it’s also a story of sacrifice and loyalty. It’s a tale of treachery and horror, but also of love and compassion. The film adaptation, though it takes many significant liberties, is pretty good, too. The main difference between the two is where they place their focus. The graphic novel places more focus on the Ripper, acting as an effective character study; looking into Jack’s motives, his complexities, and how he sees the world around him. In the film, the focus is given more to Inspector Abberline, and acts more like a typical mystery. Both are valid interpretations, and, much like the aforementioned Michael-Caine-starring miniseries, both help to give scope to the Ripper’s world, as the complications of the age and the country surrounding the case are seen through the protagonist’s eyes, and reflected in their minds and their way of working. Whichever version you prefer – the comic or the film – it’s plain to see why “From Hell” remains a lauded piece of work, and one of the more disturbing additions in the dubious legacy of Jack the Ripper in fiction.

4. Time After Time.
H.G. Wells vs. Jack the Ripper. There’s really no way to go wrong with a setup like that, in my opinion. “Time After Time” was originally a science fiction/crime novel written by Karl Alexander in 1979…and that’s about all I can say about it. I’ve never actually read the book, so I’m not sure how it compares to the movie, which was made the same year the novel came out. (It was that popular, I guess, though the film seems sadly forgotten nowadays.) The movie stars Malcolm McDowell as H.G. Wells, who actually builds a real time machine. In this story, Jack’s alter-ego is an old friend-turned-nemesis of Wells who uses the time machine to escape being captured by fleeing into the future. Wells uses the machine to track him down and hopefully bring him back to the past to face justice. Now, the interesting thing about this plot is that, as crazy as it sounds, you’d expect to be a comedy: a stuffy Wells and a melodramatic Jack the Ripper bumbling about modern-day California. And, true, the film does have a few funny moments, but it surprisingly takes things very seriously. Wells was a complex and often hypocritical person; an enlightened optimist yet a repressed pessimist, all at once. He is appalled and befuddled by the future he finds – chaotic and bizarre, rather than the refined utopia he had envisioned. This plays off brilliantly with the Ripper’s role in the story. Jack the Ripper (played perfectly by David Warner) is actually able to cope fairly well with this strange new world. “Ninety years ago, I was a freak,” he says with a smirk. “Now I’m an amateur.” In a world of rampant violence, where serial killers and monsters are quickly becoming the norm, someone like Jack the Ripper suddenly falls into obscurity. Indeed, this plays into something many historians have noted about the Ripper in recent years: when you compare his crimes, in terms of quantity, at least, to such awful names as Ted Bundy, John Wayne Gacy, or Richard Ramirez, you find that Jack fades into the background. It’s the name and the anonymity of the killer that keep his legend alive. In a modern world, he is but one small fish in a great pond of sin, and it becomes even harder for Wells to cope with such a world when that knowledge is made clear. The relationship between the two is also a big part of the fun, as the Ripper’s friendship with Wells cannot be ignored. The result is an odd but meaningful sci-fi adventure that stands right up there with all of the best. Apparently, there’s a T.V. show based on the book, now, too…but I haven’t seen it, just as I haven’t read the book. Whatever their quality may be, at least this film shines brightly.

3. A Study in Terror.
Much like Jekyll & Hyde, Sherlock Holmes and Jack the Ripper have a surprising history together. Sherlock’s primary inspiration – Professor Joseph Bell – was actually involved in the hunt for the Ripper, and, just like with Jekyll & Hyde, Holmes’ adventures began shortly before the Autumn of Terror slashed its way into the history books. Indeed, between these two factors, one could argue that the infamy of Jack the Ripper was part of what ended up making the Sherlock Holmes stories so popular! People wanted to believe that such a super-detective existed out there; someone who could right every wrong, solve every puzzle, stop every crook and scoundrel in the world. As a result, there have been several crossovers between the fictional realm of Sherlock Holmes and the real-life derangement of the Ripper. Now, out of all of them, there are really only three I’ve gotten to know very well; two of them are in the Honorable Mentions below. But my favorite of the three is this 1965 film. Something of a cult classic among Holmes-lovers, “A Study in Terror” stars John Neville as the World’s Greatest Detective, and Donald Houston as his trusty associate, Dr. Watson. What I love about every encounter between Holmes and the Ripper I have seen is that each one takes a look at the case from a different perspective; in this one, all of the suspects are fictional characters, and the story works off of the theory that the murderer might have been a medical student. The film was sadly poorly received in its time; in England, critical reception was lukewarm at best. Meanwhile, when the film was released a year later in America...well...it was 1966. “Batman” was going strong...yeah, the poster for the American release looked like this: upload.wikimedia.org/wikipedia…
As you can imagine, it failed at the box office. Critical reception HAS warmed up over the years, however, and many people consider the film nowadays to be something of a lost gem. The film is NOTHING like what the American poster would lead you to believe. Of the five victims, two of them are killed in historically inaccurate ways, with the intensity of a Hammer Horror picture. Meanwhile, the others have their murders managed largely through the power of suggestion, but it makes the film no less brutal or disturbing. Neville’s stalwart Holmes and Houston’s comedic but ready-with-a-punch Watson are highly underrated portrayals, in my opinion, and the film features some pretty major actors, either for the time or up-and-coming: Judi Dench, Frank Finlay, Barbara Windsor, Barry Jones, and Robert Morley, just to name a few. The film keeps you guessing all the while, and isn’t afraid to scare the daylights out of you, but still knows how to have fun. It does have a couple of flaws (Mycroft is completely useless, and Sherlock manages to survive his final encounter with the Ripper thanks to the power of a deus ex machina), and is not as complex or as realistic as some other takes on the “Holmes vs. The Ripper” concept...but it doesn’t need to be. It’s just a good murder-mystery in the classic Holmes style, with several little references to Conan Doyle’s original work thrown in to add to the fun. If you ever wanted to see Sherlock Holmes tackle Jack the Ripper, this movie is probably a good place to start, if nothing else.

2. Anno Dracula.
SWEET BUTTERY JESUS, I ADORE THIS BOOK. Okay, so, imagine this: the story takes place in an alternate universe, where figures of history and fiction are all sort of mixed together. During the events of “Dracula,” the title character actually manages to defeat Van Helsing and his allies, and ends up not only gaining control of both Mina and Lucy, but also ends up seducing Queen Victoria herself in the aftermath, and takes over all of England. By the time the story starts, at least half of England’s population has been transformed into vampires. Crazy? Definitely. Odd? Certainly. But is it any good? HECK YEAH! Written by Kim Newman, and filled with ironic humor mixed with genuine horror and drama, there are a lot of reasons to love this story, but for the sake of this list, I’m just going to focus on what the Ripper’s role in all this is. This is one case where I sort of need to give away the Ripper’s identity, too: it turns out that Jack the Ripper (or “Silver Knife,” as he’s alternatively called throughout the story) is actually none other than Dr. Seward from “Dracula.” In the wake of the Vampire King’s takeover of England, Seward has gone a bit screwy, and begins killing vampires who also happen to be prostitutes. He sees this as a small attempt at continuing Van Helsing’s work, and getting revenge for all the suffering he’s gone through. So, what’s so bad about that? Sounds like Saucy Jacky’s the hero in this story, right? WRONG. Why? Because of the book’s ultimate accomplishment; something I don’t think any other vampire book - and I do mean ANY other vampire book - has managed to achieve before: it makes the vampires people. Just. People. Yeah, they drink blood; yeah, some of them have red eyes and pointy ears; yeah, they can’t go out in the sun for too long...but at the end of the day, becoming a vampire doesn’t make ANY of the characters any more evil than they ever were. Inspector Lestrade is still Inspector Lestrade, even after becoming a vampire; Fu Manchu is still Fu Manchu, even after becoming a vampire. One remains good, the other remains evil. Becoming a vampire in this world doesn’t necessarily change your morality. Thus, while at first it seems like Seward is less of a villain and more of a vigilante, as the story goes on, and we see just how...HUMAN these vampires are, and learn just how far off the deep end Seward has gone in becoming Jack the Ripper, we gradually come to realize that he truly is the bad guy here. Once again, the book has a lot of scope; much more scope, one could argue, than a film or miniseries can manage, given their limitations compared to the written word. And because we actually spend a fair amount of time with Seward, we come to understand and sympathize with him, even though, at the same time, we realize he’s not quite right in the head. We know why he’s doing all this, and it’s sort of hard to blame him...but he is taking lives that, at the end of the day, are far more innocent than he gives them credit for. As a result, his crimes remain inexcusable. This is an incredibly clever book - I dare call it a work of pure genius - and the way that the Ripper is intertwined into the story and its world are just one of so many reasons why.

But as much as I adore “Anno Dracula,” there is - perhaps surprisingly - one fictional piece based around Jack the Ripper I like even more…

1. Assassin’s Creed Syndicate: Jack the Ripper DLC
Why do I love this version so much? Actually, it’s pretty tough to say. This is seriously a case where I’m not entirely sure of what makes me like this one above all the rest. I just...do! I suppose part of it may be the fact this DLC actually gives us the chance to play as the Ripper himself; that’s both really cool and really disturbing, from a playing perspective. Maybe it’s the grandiose nature they give to the Ripper, making him part of a cult-like group of secretive fanatics, like a stab-happy, British version of Ra’s Al Ghul. That’s melodramatic as heck, but sort of fun, and actually even ties into some of the inconsistencies between the Ripper’s canonical and suspected crimes. Maybe it’s the performance of Alec Newman as the villain, giving him a cool, calculating, intimidatingly devious voice, even as his playable stages are literally filled with voices in his head screaming things like “They must never know!” “Kill!” “Prey!” and so forth, giving him a paranoid, schizophrenic edge while also having the suave viciousness of a Bond villain. Maybe it’s the way they tie the Ripper and his motivations into the actual Assassin organization, and even give him ties to the protagonists of the story. Maybe it’s the fact that, despite all the info we do get about him, Jack remains very much a mystery; we never learn his true name, nor we do we ever see his face. Maybe it’s the music by Bear McCreary; sticking to the largely-string-based sound style of Austiin Wintory from the main game, but adding percussive and electronic elements to give the music a psychotic, somewhat more modern element, and a heavy Hans-Zimmer-style feeling of atmosphere. Maybe it’s the very simple fact that “Syndicate” actually happens to be - at least at the time I’m typing this - the only AC game I’ve actually played. Maybe it’s all of the above...maybe it’s none of the above. Whatever the reason behind my love of this DLC, I suppose it doesn’t matter. It takes the top of this list without question; My Favorite Take on one of History’s Most Feared Monsters. A choice that can only come...FROM HELL.

Honorable Mentions Include…
Star Trek: Wolf in the Fold.
This is an episode of the original Star Trek series that people seem to either love or hate. Some love it for its surprisingly dark and creepy tone, while others feel that its slightly misogynistic undertones and elements of “fiction” outweighing the “science” in its “science fiction” status (even by Star Trek standards) make it virtually unwatchable. Personally, while I do think it’s flawed, I rather enjoy this episode. The twist in this story is that Jack the Ripper - or “Redjac” (Get it? “Red Jack?” Ha.) - is a mysterious and nigh-demonic entity who feeds on terror and pain, and can possess people, forcing them to commit hideous acts of violence...and has a taste for women. It’s a bit like mixing Lovecraft with Doctor Who; it’s weird, but it’s surprisingly scary, and actually sort of fascinating. If you’ve seen this episode already, maybe you’ll agree; if not, take a look, and decide how you feel for yourself.

I, Ripper.
Written by Stephen Hunter. A book that’s told half as a fictional diary written by the killer, and half as the adventures of a budding reporter trying to figure the case out. A thriller in the most classic sense of the word. ‘Nuff said.

Other Honorable Mentions Include…
Hands of the Ripper. (A 1971 Hammer film in which a young woman who is secretly the daughter of the Ripper is seemingly possessed by the long-dead killer’s ghost.)
Murder By Decree. (Chronologically, the second “Holmes vs. Ripper” adaptation I’ve experienced; a 1979 film starring Christopher Plummer as Holmes and James Mason as Watson. Also, another interpretation inspired by the infamous “Royal Conspiracy.”)
Black Butler. (A popular anime/manga series inspired by “Faust;” there is a major story arc involving the Ripper murders.)
Sherlock Holmes vs. Jack the Ripper. (Chronologically, the third “Holmes vs. Ripper” adaptation I’ve experienced, and arguably the one to take the most realistic look at the murders; a video game released as part of Frogwares’ “Sherlock Holmes” series.)
Soul Eater. (Another popular anime/manga series; the main protagonists face a demonic, puppet-like version of the Ripper fairly early in the story.)

Description

In 1888, England experienced a crime wave like no other. During the course of only a few months, murders by the dozen were committed and/or uncovered, the widespread death and tragedy striking fresh fear into the hearts of both the rich and the poor alike. This was the Autumn of Terror. While many criminals operated during this time, none have remained as infamous as the monstrous and mysterious serial killer simply called…JACK THE RIPPER. His(?) identity unknown even to this day, this brutal murderer slaughtered several innocent women. Though the number of his crimes were relatively small, the horrific nature of the slayings, mixed with the fact he was never apprehended, and this mixed with the nefarious title by which we know him, made the Whitechapel Murderer an almost legendary figure. Even to this day, he is a symbol of nightmarish perversion and pure evil; a bogeyman from over a century ago, who remains just as frightening today as he would have been back when his crimes were new.
The ghoulish pall of Jack the Ripper, along with his anonymity, has made this fiend arguably the most well-known serial killer in all the world, and many a fictional work has been made using the monster as inspiration. Because he was never caught, artists, writers, and directors of all sorts have found numerous ways to reimagine the demon and his hideous killing spree. Indeed, some have stated that the Ripper – in reality a very common cutthroat – is practically GLORIFIED today.
Now, to an extent, this may be true. I would like to say right now that it is important to keep in mind that the Ripper WAS a very real, very twisted human being. It is equally important to keep in mind that his victims were just as real, and even today, the horrible impact of his crimes is felt, as descendants of the victims find their past filled with unspeakable atrocities, and victims of the numerous suspects of the crimes find their ancestry filled with notoriety and uncertainty. But I think the argument could be made that the vast awareness of Jack the Ripper and his crimes has some merits. For one thing, it ensures that these terrible crimes are never forgotten. For another thing, it is worth pointing out that creative people will always look to real-life for inspiration, and they will always take creative liberties with these people and their stories. Provided it is done in a tasteful and intelligent manner, this will always be understood and considered generally acceptable.
With that said: like so many others, I have always been fascinated by the mystery of this serial killer, and I have actually researched this case a fair deal. And given that the sinister world of Jack the Ripper has recently helped birth a film I absolutely love, it seems the time has come to take a look at how the Whitechapel Murders have inspired creativity and seeped into popular culture. So, grab your Gladstone bags, my little maniacs…these are My Top 12 Favorite Fictional Works Inspired by Jack the Ripper!

12. Fate/Apocrypha.
“Fate/Apocrypha” is one of the more recent inclusions in the long-running “Fate” anime and manga series. For those who don’t know, the Fate franchise focuses on a reality where magic is real, and, every 60 years (at least in most cases), mages around the world compete with each other in an event simply known as the Holy Grail War. In this version, the Holy Grail does not specifically grant immortality, but instead will grant the finder any wish they so desire. To compete, the mages summon entities known as “Heroic Spirits;” these are essentially angelic (or demonic) beings who are the living spirits of historical and mythological figures. From figures of Arthurian legend, to conquerors like Vlad the Impaler and Alexander the Great, to Shakespeare himself; these spirits come in many different forms and “classes” (sort of like a giant, psychotic RPG, I suppose), and fight for the mages against each other, in a battle to either locate, or, in some cases, simply keep hold of the Holy Grail. Now, not all of these spirits are based on GOOD people; in “Fate/Apocrypha,” one of the most disturbing spirits to appear is – you guessed – Jack the Ripper. Now, you’re probably wondering: how does one summon a spirit of a person whose identity is totally unknown? Well, that’s the clever twist this version brings to the pot: in this incarnation, Jack is not one person, but SEVERAL. She – yes, SHE – is the amalgamation of the ghosts of over ten thousand aborted children, all created in the wombs of prostitutes. This murderous, cannibalistic spirit is actually a rather tragic case; all she wants is a mother. She wants someone to love her and care for her. And, in “Fate/Apocrypha,” she gets one, as her summoner treats her like her own child and cares for her. This makes Jack one of the most sympathetic spirits in the series…but also one of the scariest. Much like the Tweedles from “Alice in the Country of Hearts,” she is a creepy kid, but she doesn’t ACT like your stereotypical “creepy kid” character. She doesn’t usually look all crazy-eyed, or cackle and shriek; she doesn’t have an empty, vacant stare or monotone voice. She acts, more or less, like a real, innocent little girl. (Even though her design is clearly not very...um…“little-girl-y.”) As a result, it isn’t Jack HERSELF we find scary, but rather what she DOES. Because, as you can imagine, this knife-wielding Assassin-type spirit packs a powerful punch, and her literal bloodlust is rather unnerving. It’s a very unique and curious interpretation of the Ripper, and definitely worth mentioning on this list.

11. Batman: Gotham By Gaslight.
I spoke of the movie adaptation of this famous graphic novel in my previous list. And, yes, that movie was, indeed, what inspired me to make this list now in the first place. I was originally going to save it for Halloween…but don’t worry, knaves, I have plans for October.
ANYWAY: this comic was the very first DC Elseworlds story. It reimagines Batman as a hero of the late Victorian era, and has him facing off with – you guessed it – Jack the Ripper; a battle which becomes increasingly personal, as Bruce Wayne gets framed for the Ripper murders, and later discovers that the Ripper is, in fact, an old ally and friend. The movie keeps these bare bones essentials, but shifts things around a lot; the plot is virtually nothing like the comic beyond these simple, basic story elements. Even the Ripper’s identity is changed between the version in the comic and the version in the film! It should also be noted that the way the two versions approach Jack the Ripper is rather different: first of all, in the comic, the Ripper is a native murderer of London, as he was in history, who travels to America and continues his work in Gotham City. This allows for historical accuracy in the graphic novel, since it gives a possible explanation for why the murders in London suddenly stopped, as well as making sure the historical facts of the case are not ruined. The film, however, is quite different; even though Gotham remains an American city in the movie, the Ripper here is depicted as being native to Gotham, not Whitechapel. Similarly, none of the historical victims are even MENTIONED in the film. Both are valid approaches to such an intriguing subject; one allows for creative license, while keeping history in mind, while the other just throws history out the window and chooses to delve completely into fiction. You can argue which is the better course, and which adaptation you like best, but in either event, it’s just a lot of fun to see Batman face off against Jack the Ripper. The Dark Knight is a hero immersed in shadows and fog, draped in black, who prides himself on stealth and intelligence above all else; the Ripper, both historically and fictionally, is a figure with similar ideals, only he uses (and used) them for vile purposes. The Ripper sought to destroy lives; Batman seeks to uphold them. The added fact that the Ripper is made to be a friend, even something of a mentor, to Bruce Wayne in both versions is also very interesting, adding only another layer to the impact of such a chilling encounter.

10. John Doe: Shock to the System.
If you haven’t heard of this show, I wouldn’t be surprised. This was a relatively short-lived series that ended very abruptly…on a cliffhanger, no less! Which is a shame, because it is a pretty interesting crime drama series. The plot focuses on a man who wakes up one morning with amnesia; he has no idea who he is, where he comes from, etc. He finds he is color blind, and seems to have an odd brand on his skin. But strangest of all, his brain has become a human supercomputer; able to access just about any piece of information known to mankind. He calls himself “John Doe” (because if he has no name, why not?), and uses these talents to help the police, while at the same time trying to find out more about his past. This is a fun premise, and this episode is undoubtedly the best in the show’s sadly-only-a-single-season-long run. Taking place towards the end of the season/series, Doe gets struck by lightning, and even though he survives, the lightning strike messes with his mind. He suddenly is no longer color blind, and finds that his once mighty mind has been reduced to that of a fairly normal human being. And such a strike couldn’t have come at a worst time, because he finds that someone is going around town in a hooded cloak, wielding a knife, murdering people in what seems to be a very accurate attempt to replicate the crimes of Jack the Ripper, even going by the same moniker. Already, this set up is AMAZING; I’m not even sure I have words to describe such an ingenious idea for an episode in a show like this! To make it all even better, however, the twist when it’s revealed who this “New Ripper” is turns out to be just as spectacular as the rest of the show. It is a double-twist, of sorts; not only turning the episode, itself, on its head, but turning the very myth of Jack the Ripper topsy-turvy, too! In short, it’s a brilliant little story from a brilliant little series, both of which deserve much, MUCH more attention. Check it out when you get the chance!

9. The 1988 Miniseries.
A four-part miniseries starring Michael Caine as Inspector Frederick Abberline, and with a MASSIVE cast. This one focuses much more on the mystery of the case than on the Ripper himself, compared to a lot of other fictional works involving the notorious swine. It essentially plays out as a rather straightforward “whodunnit?” style mystery, with the majority of the story looking into Abberline’s life and work, rather than Jack the Ripper as a character. That, however, is the beauty of this piece. It gives a greater sense of scope and even power to the Ripper, because we really get a feel for the world AROUND these foul deeds, and understand the people involved in the case at every turn. Especially Abberline himself; Caine gives a powerhouse performance, as usual, and the writing and direction really have you rooting for Abberline, and make it very clear that he’s not the incompetent bungler many takes on the case paint him out to be. He’s not dimwitted, just a little out of his depth; everybody is. This, in a way, actually heightens the Ripper’s presence; he’s not as physically noteworthy as in other versions, but the tension that seems to pervade the very air these characters breathe is palpable and intense. It’s a good ol’ fashioned murder mystery, in every sense of the term. It’s also one of a few takes on the Ripper case to be inspired by the infamously redonculous “Royal Conspiracy,” which just gives it even more atmosphere, and adds to the drab, gloomy mood of the story. Compared to many other reimaginings, it’s a little bit slower-paced and a little drier; again, more of a classic detective story than your typical Ripper reinterpretation…but if that sounds up your alley? Watch it at the first chance you get.

8. Pandora’s Box.
One of the last hurrahs of German Expressionist silent cinema, this 1929 film is pretty easy to sum up. The movie plays out almost like a twisted fairy-tale: it focuses on a beautiful but hedonistic young woman simply called “Lulu.” Lulu is the classic depiction of a seductress; a cunning, manipulative, vain young lady fueled almost completely by raw sexuality, using her whiles to get anything (and anyone) she wants. While the film makes it clear she isn’t a terrible person, and several of the people around her are actually quite awful themselves, it is this irrepressible vice of hers that constantly gets her and hers into trouble. The film is something of a tragicomedy; Lulu’s exploits are often as amusing as they are unnerving, and for every scene that helps us sympathize with her, another scene pops up that makes us want to shake her by the shoulders and shout, “What the heck is wrong with you?!” Ultimately, Lulu’s complete inability to NOT make out with every random guy she meets leads to her undoing, as she unwittingly invites Jack the Ripper himself (whose true name is never given) to her apartment. You can imagine how things go from there. It is ultimately a cautionary tale about the dangers of lust and of talking to strangers; a bit like a more adult-themed version of Little Red Riding Hood. The expressionist style design, and Louise Brook’s touching and yet also glamorous performance as Lulu (matched only by Gustav Diessl as the Ripper, and future Dracula, Francis Lederer, as one of Lulu’s more noteworthy lovers) carries the film brilliantly. It’s an eerie and yet somewhat comical sort of story, and makes this perhaps one of the most complex and stylish films from the last days of the silent era.

7. Dr. Jekyll & Sister Hyde.
Robert Louis Stevenson’s classic gothic novella, “The Strange Case of Dr. Jekyll & Mr. Hyde,” actually has quite a history with Jack the Ripper. Not long after the book was published – and a very successful stage play based on it was put on in the West End, starring then-well-known actor Richard Mansfield in the dual title role(s) – the Autumn of Terror rocked the nation. Mansfield himself was, at one point, even considered as a suspect in the crimes, as his performance as the evil Edward Hyde was apparently so convincing, people thought he may truly be deranged, and committing the acts AS Hyde! (Odd theory, to say the least.) As it turns out, both the Ripper AND Jekyll & Hyde have a long history with the age of Hammer Horror as well; the much-renowned studio released a few films based on Jekyll & Hyde, and a few inspired by the Whitechapel Murders, too. However, it was this crossover between the two worlds that both audiences and critics enjoyed the most. In this story, Dr. Jekyll – already a somewhat foppish sort, as played by Ralph Bates – is a vulnerable and rather odd man, who, when he takes his potion, actually transforms into an evil but gorgeous woman, who simply calls herself “Miss Hyde,” and passes herself off as Jekyll’s sister. To create his potion, Jekyll uses parts and chemicals found only in the female anatomy; at first, he gets these with the help of the equally infamous body snatchers/secret murderers, Burke & Hare, but when they…ahem…“go out of business,” Hyde resorts to murdering random prostitutes to get the parts they need, thus creating the legend of Jack the Ripper. The film, as a whole, rides a fine line between an all-out exploitation horror film, and a genuinely smart and even sort of deep picture. It was a little ahead of its time, and tackled a touchy subject (you can guess which one) in a fun and frightful way, without ruining the subtlety of both that subject matter and Stevenson’s story. The Ripper Murders blend right in seamlessly with this context, and definitely make this perhaps the most unique and successful crossover between the mad doctor and his alter ego, and the Butcher of Whitechapel.

6. The Lodger.
Written by Marie Adelaide Belloc Lowndes. (Wow, what a name.) Simply put, this book is the single most influential Jack the Ripper-based story of all time. It has been adapted no less than five times in film, another five times in radio, and there’s even an OPERA based on it! What makes this story so powerful? Well, it’s simplicity, really. To put it bluntly, the plot is about a female Victorian lodging house owner, who receives a guest, and falls in love with them. That’s…basically it. The twist, of course, is the that the guest is implied to be Jack the Ripper. That’s right: IMPLIED. The book leaves things ambiguous as to whether the mysterious titular character is truly the Ripper or not. Many adaptations tend to ditch this ambiguity; in the 1927 silent film, directed by the legendary Alfred Hitchcock, the lodger (played by Ivor Novello) is revealed to be a person who is actually trying to catch the murderer (who, in the film, is given the title “The Avenger,” though the Ripper is still clearly who he is meant to be). Contrariwise, in another film adaptation, re-titled “The Man in the Attic,” in which Jack Palance played the lodger (named “Slade”), the suspicions of the woman running the place are confirmed, and he is proven to be the Ripper. But it’s the original book’s malevolent ambiguity that I feel works the best; it latches on to what makes the Ripper so alluring to us even to this day: the mystery. The story is a gothic romance filled with shades of gray, leaving you with few answers, and a whole lot of questions. It makes your skin crawl, yet it also makes your heart soar. Despite how often it has been adapted, I often feel it’s a somewhat underrated tale; when people talk about the great dark romances, great gothic horror tales, and even the great mystery or crime stories of all time, this one somehow never gets mentioned. The Phantom of the Opera, Dracula, The Hound of the Baskervilles; all of them are discussed…but The Lodger somehow never gets recognized. Hopefully mentioning it on this list will fix that a bit. If you haven’t read the book, or seen/listened to any of its numerous adaptations (for radio, I highly recommend the version starring Vincent Price), do so at the first opportunity. It’s an underrated classic, in the truest sense of the word.

5. From Hell.
While “The Lodger” is the most frequently adapted story of Jack the Ripper, I think one could make the argument that this graphic novel might actually be the most famous. Maybe it’s just the circle of people I tend to be around (I am a shameless comic geek, for those who are new here), but when I talk about fiction based on the Ripper murders, it’s this story – or at least its film adaptation from 2001 – that tends to be first thing that comes up in a discussion. This isn’t a bad thing, though, by any means. Written by Alan Moore – the same genius behind “The League of Extraordinary Gentlemen” and “V for Vendetta,” among other stories – this is another story heavily influenced by the “Royal Conspiracy” theory, mixed with the “Freemason Conspiracy” theory, making for a paranoid and highly romanticized tale of the Ripper murders, but not a bad one. You see, Moore doesn’t seem to be under the delusion this is REALLY what happened, or what the Ripper was like. Rather, he uses the conspiracies and myths of the past to give the story deeper meaning, and to play with many interesting themes. It’s a story of corruption and secrecy, as you would expect, but it’s also a story of sacrifice and loyalty. It’s a tale of treachery and horror, but also of love and compassion. The film adaptation, though it takes many significant liberties, is pretty good, too. The main difference between the two is where they place their focus. The graphic novel places more focus on the Ripper, acting as an effective character study; looking into Jack’s motives, his complexities, and how he sees the world around him. In the film, the focus is given more to Inspector Abberline, and acts more like a typical mystery. Both are valid interpretations, and, much like the aforementioned Michael-Caine-starring miniseries, both help to give scope to the Ripper’s world, as the complications of the age and the country surrounding the case are seen through the protagonist’s eyes, and reflected in their minds and their way of working. Whichever version you prefer – the comic or the film – it’s plain to see why “From Hell” remains a lauded piece of work, and one of the more disturbing additions in the dubious legacy of Jack the Ripper in fiction.

4. Time After Time.
H.G. Wells vs. Jack the Ripper. There’s really no way to go wrong with a setup like that, in my opinion. “Time After Time” was originally a science fiction/crime novel written by Karl Alexander in 1979…and that’s about all I can say about it. I’ve never actually read the book, so I’m not sure how it compares to the movie, which was made the same year the novel came out. (It was that popular, I guess, though the film seems sadly forgotten nowadays.) The movie stars Malcolm McDowell as H.G. Wells, who actually builds a real time machine. In this story, Jack’s alter-ego is an old friend-turned-nemesis of Wells who uses the time machine to escape being captured by fleeing into the future. Wells uses the machine to track him down and hopefully bring him back to the past to face justice. Now, the interesting thing about this plot is that, as crazy as it sounds, you’d expect to be a comedy: a stuffy Wells and a melodramatic Jack the Ripper bumbling about modern-day California. And, true, the film does have a few funny moments, but it surprisingly takes things very seriously. Wells was a complex and often hypocritical person; an enlightened optimist yet a repressed pessimist, all at once. He is appalled and befuddled by the future he finds – chaotic and bizarre, rather than the refined utopia he had envisioned. This plays off brilliantly with the Ripper’s role in the story. Jack the Ripper (played perfectly by David Warner) is actually able to cope fairly well with this strange new world. “Ninety years ago, I was a freak,” he says with a smirk. “Now I’m an amateur.” In a world of rampant violence, where serial killers and monsters are quickly becoming the norm, someone like Jack the Ripper suddenly falls into obscurity. Indeed, this plays into something many historians have noted about the Ripper in recent years: when you compare his crimes, in terms of quantity, at least, to such awful names as Ted Bundy, John Wayne Gacy, or Richard Ramirez, you find that Jack fades into the background. It’s the name and the anonymity of the killer that keep his legend alive. In a modern world, he is but one small fish in a great pond of sin, and it becomes even harder for Wells to cope with such a world when that knowledge is made clear. The relationship between the two is also a big part of the fun, as the Ripper’s friendship with Wells cannot be ignored. The result is an odd but meaningful sci-fi adventure that stands right up there with all of the best. Apparently, there’s a T.V. show based on the book, now, too…but I haven’t seen it, just as I haven’t read the book. Whatever their quality may be, at least this film shines brightly.

3. A Study in Terror.
Much like Jekyll & Hyde, Sherlock Holmes and Jack the Ripper have a surprising history together. Sherlock’s primary inspiration – Professor Joseph Bell – was actually involved in the hunt for the Ripper, and, just like with Jekyll & Hyde, Holmes’ adventures began shortly before the Autumn of Terror slashed its way into the history books. Indeed, between these two factors, one could argue that the infamy of Jack the Ripper was part of what ended up making the Sherlock Holmes stories so popular! People wanted to believe that such a super-detective existed out there; someone who could right every wrong, solve every puzzle, stop every crook and scoundrel in the world. As a result, there have been several crossovers between the fictional realm of Sherlock Holmes and the real-life derangement of the Ripper. Now, out of all of them, there are really only three I’ve gotten to know very well; two of them are in the Honorable Mentions below. But my favorite of the three is this 1965 film. Something of a cult classic among Holmes-lovers, “A Study in Terror” stars John Neville as the World’s Greatest Detective, and Donald Houston as his trusty associate, Dr. Watson. What I love about every encounter between Holmes and the Ripper I have seen is that each one takes a look at the case from a different perspective; in this one, all of the suspects are fictional characters, and the story works off of the theory that the murderer might have been a medical student. The film was sadly poorly received in its time; in England, critical reception was lukewarm at best. Meanwhile, when the film was released a year later in America...well...it was 1966. “Batman” was going strong...yeah, the poster for the American release looked like this: upload.wikimedia.org/wikipedia…
As you can imagine, it failed at the box office. Critical reception HAS warmed up over the years, however, and many people consider the film nowadays to be something of a lost gem. The film is NOTHING like what the American poster would lead you to believe. Of the five victims, two of them are killed in historically inaccurate ways, with the intensity of a Hammer Horror picture. Meanwhile, the others have their murders managed largely through the power of suggestion, but it makes the film no less brutal or disturbing. Neville’s stalwart Holmes and Houston’s comedic but ready-with-a-punch Watson are highly underrated portrayals, in my opinion, and the film features some pretty major actors, either for the time or up-and-coming: Judi Dench, Frank Finlay, Barbara Windsor, Barry Jones, and Robert Morley, just to name a few. The film keeps you guessing all the while, and isn’t afraid to scare the daylights out of you, but still knows how to have fun. It does have a couple of flaws (Mycroft is completely useless, and Sherlock manages to survive his final encounter with the Ripper thanks to the power of a deus ex machina), and is not as complex or as realistic as some other takes on the “Holmes vs. The Ripper” concept...but it doesn’t need to be. It’s just a good murder-mystery in the classic Holmes style, with several little references to Conan Doyle’s original work thrown in to add to the fun. If you ever wanted to see Sherlock Holmes tackle Jack the Ripper, this movie is probably a good place to start, if nothing else.

2. Anno Dracula.
SWEET BUTTERY JESUS, I ADORE THIS BOOK. Okay, so, imagine this: the story takes place in an alternate universe, where figures of history and fiction are all sort of mixed together. During the events of “Dracula,” the title character actually manages to defeat Van Helsing and his allies, and ends up not only gaining control of both Mina and Lucy, but also ends up seducing Queen Victoria herself in the aftermath, and takes over all of England. By the time the story starts, at least half of England’s population has been transformed into vampires. Crazy? Definitely. Odd? Certainly. But is it any good? HECK YEAH! Written by Kim Newman, and filled with ironic humor mixed with genuine horror and drama, there are a lot of reasons to love this story, but for the sake of this list, I’m just going to focus on what the Ripper’s role in all this is. This is one case where I sort of need to give away the Ripper’s identity, too: it turns out that Jack the Ripper (or “Silver Knife,” as he’s alternatively called throughout the story) is actually none other than Dr. Seward from “Dracula.” In the wake of the Vampire King’s takeover of England, Seward has gone a bit screwy, and begins killing vampires who also happen to be prostitutes. He sees this as a small attempt at continuing Van Helsing’s work, and getting revenge for all the suffering he’s gone through. So, what’s so bad about that? Sounds like Saucy Jacky’s the hero in this story, right? WRONG. Why? Because of the book’s ultimate accomplishment; something I don’t think any other vampire book - and I do mean ANY other vampire book - has managed to achieve before: it makes the vampires people. Just. People. Yeah, they drink blood; yeah, some of them have red eyes and pointy ears; yeah, they can’t go out in the sun for too long...but at the end of the day, becoming a vampire doesn’t make ANY of the characters any more evil than they ever were. Inspector Lestrade is still Inspector Lestrade, even after becoming a vampire; Fu Manchu is still Fu Manchu, even after becoming a vampire. One remains good, the other remains evil. Becoming a vampire in this world doesn’t necessarily change your morality. Thus, while at first it seems like Seward is less of a villain and more of a vigilante, as the story goes on, and we see just how...HUMAN these vampires are, and learn just how far off the deep end Seward has gone in becoming Jack the Ripper, we gradually come to realize that he truly is the bad guy here. Once again, the book has a lot of scope; much more scope, one could argue, than a film or miniseries can manage, given their limitations compared to the written word. And because we actually spend a fair amount of time with Seward, we come to understand and sympathize with him, even though, at the same time, we realize he’s not quite right in the head. We know why he’s doing all this, and it’s sort of hard to blame him...but he is taking lives that, at the end of the day, are far more innocent than he gives them credit for. As a result, his crimes remain inexcusable. This is an incredibly clever book - I dare call it a work of pure genius - and the way that the Ripper is intertwined into the story and its world are just one of so many reasons why.

But as much as I adore “Anno Dracula,” there is - perhaps surprisingly - one fictional piece based around Jack the Ripper I like even more…

1. Assassin’s Creed Syndicate: Jack the Ripper DLC
Why do I love this version so much? Actually, it’s pretty tough to say. This is seriously a case where I’m not entirely sure of what makes me like this one above all the rest. I just...do! I suppose part of it may be the fact this DLC actually gives us the chance to play as the Ripper himself; that’s both really cool and really disturbing, from a playing perspective. Maybe it’s the grandiose nature they give to the Ripper, making him part of a cult-like group of secretive fanatics, like a stab-happy, British version of Ra’s Al Ghul. That’s melodramatic as heck, but sort of fun, and actually even ties into some of the inconsistencies between the Ripper’s canonical and suspected crimes. Maybe it’s the performance of Alec Newman as the villain, giving him a cool, calculating, intimidatingly devious voice, even as his playable stages are literally filled with voices in his head screaming things like “They must never know!” “Kill!” “Prey!” and so forth, giving him a paranoid, schizophrenic edge while also having the suave viciousness of a Bond villain. Maybe it’s the way they tie the Ripper and his motivations into the actual Assassin organization, and even give him ties to the protagonists of the story. Maybe it’s the fact that, despite all the info we do get about him, Jack remains very much a mystery; we never learn his true name, nor we do we ever see his face. Maybe it’s the music by Bear McCreary; sticking to the largely-string-based sound style of Austiin Wintory from the main game, but adding percussive and electronic elements to give the music a psychotic, somewhat more modern element, and a heavy Hans-Zimmer-style feeling of atmosphere. Maybe it’s the very simple fact that “Syndicate” actually happens to be - at least at the time I’m typing this - the only AC game I’ve actually played. Maybe it’s all of the above...maybe it’s none of the above. Whatever the reason behind my love of this DLC, I suppose it doesn’t matter. It takes the top of this list without question; My Favorite Take on one of History’s Most Feared Monsters. A choice that can only come...FROM HELL.

Honorable Mentions Include…
Star Trek: Wolf in the Fold.
This is an episode of the original Star Trek series that people seem to either love or hate. Some love it for its surprisingly dark and creepy tone, while others feel that its slightly misogynistic undertones and elements of “fiction” outweighing the “science” in its “science fiction” status (even by Star Trek standards) make it virtually unwatchable. Personally, while I do think it’s flawed, I rather enjoy this episode. The twist in this story is that Jack the Ripper - or “Redjac” (Get it? “Red Jack?” Ha.) - is a mysterious and nigh-demonic entity who feeds on terror and pain, and can possess people, forcing them to commit hideous acts of violence...and has a taste for women. It’s a bit like mixing Lovecraft with Doctor Who; it’s weird, but it’s surprisingly scary, and actually sort of fascinating. If you’ve seen this episode already, maybe you’ll agree; if not, take a look, and decide how you feel for yourself.

I, Ripper.
Written by Stephen Hunter. A book that’s told half as a fictional diary written by the killer, and half as the adventures of a budding reporter trying to figure the case out. A thriller in the most classic sense of the word. ‘Nuff said.

Other Honorable Mentions Include…
Hands of the Ripper. (A 1971 Hammer film in which a young woman who is secretly the daughter of the Ripper is seemingly possessed by the long-dead killer’s ghost.)
Murder By Decree. (Chronologically, the second “Holmes vs. Ripper” adaptation I’ve experienced; a 1979 film starring Christopher Plummer as Holmes and James Mason as Watson. Also, another interpretation inspired by the infamous “Royal Conspiracy.”)
Black Butler. (A popular anime/manga series inspired by “Faust;” there is a major story arc involving the Ripper murders.)
Sherlock Holmes vs. Jack the Ripper. (Chronologically, the third “Holmes vs. Ripper” adaptation I’ve experienced, and arguably the one to take the most realistic look at the murders; a video game released as part of Frogwares’ “Sherlock Holmes” series.)
Soul Eater. (Another popular anime/manga series; the main protagonists face a demonic, puppet-like version of the Ripper fairly early in the story.)