Short listed for this year's Hugos, this is another in Talbot's alternate history of Grandville, where most people are anthropomorphised animals and England is only now recovering from two hundred years of French rule after defeat at Waterloo. As well as taking us to the dark heart of political conspiracy, with overtones of Tintin (and also, frankly, Dangermouse), Talbot reflects art history too in his distorted gaze; the character here illustrated is one Jackson Pollo, and he refers in an afterword to the CIA's funding of Abstract Expressionism. It's a witty, absurd and also rather bleak story. I will find it tough to choose between this and Saucer Country for the Hugo.