Dark Alice is hardly removed from the original stories in any way. The fundamental flaws in her character are there for all to see and understand, for her creator made her exactly as his inner desires demanded. A curious girl, with little fear of anything in our world or Wonderland, capable of standing up to the most vaunted of personalities and simply state, ‘Do you worst, I dare you!’
No shrinking violet our heroine, overflowing with a vivaciousness quite uncommon for her age and time. More Goth than innocent, a strangely knowing acceptance of quirks most perverse, whether habitual or casual, and antagonistically anarchical, questioning any power, however well situated, particularly when wielded prejudiciously.
Fond of collecting acquaintances that might prove useful, amusing, diversionary, and happily shucking them when no longer purposeful. A young lady of very specific tastes, bordering upon the contrary, irregular, and socially inappropriate.
The Victorians view of life was particularly divisive, acknowledging both ends of existences possible objectives, the paths angelic and devilish. The stark nature of their literature shows the truth of their leanings all too tangibly, in the focused writings of Dickens, both Shelley’s, Dodgson, and Stoker. A sudden understanding of the mortality of humanity, mixed with a realization of the capricious and often depraved nature of their imaginings produced an outflow of thought and writing that pushed the very boundaries of religious and philosophic considerations to the extreme.
Goth Alice’s attractiveness to the feminine is wholly understandable and laudable, she represents a figure of irreproachable power and confidence, unwilling to compromise her own well based positions for those of less studiously assembled criteria, no matter the eminence of their source. An adolescent Harley Quinn, without the restraint of any overriding romantic fixation, Alice is a celebutante not to be easily erased from any girls formative search for paragons.