Quite simply, Alice in Sunderland is a tour de force. But if that's the only reason you're reading it, you've missed the point. On one level, the book is a tribute to the possibilities opened to the comic form by Photoshop and other such digital manipulation. It sounds like it shouldn't work, but Talbot pulls it off remarkably well, creating something that is part Kirby-collage, part J.H.Williams on Promethea, part something else entirely, and wholly Talbot's own. Talbot blends photographs, woodcuts, and a range of other artworks along with his own drawing. It's a fascinating work, one of the most ambitious things attempted in comics format since From Hell by a writer, and no less ambitious on the art side. Reassured, Talbot continues to work on this comic which is not so much about anything, as about everything. It's large and complex and may not have an audience.īut then Scott McCloud appears to him in a vision, and reminds him that comics can be about anything. Somewhere right about the middle of Alice in Sunderland, Bryan Talbot shows himself beginning to lose faith in the project.
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