A novel and some graphic novels (#SFWApro)

According to the back-of-cover blurbs for  APOCALYPTIGIRL, writer/artist Andrew MacLean is an “indie-comics sensation.” For the life of me I can’t see why: the protagonist searching for a McGuffin in post-apocalyptic New York is fun (and I like her cat) but the world is a very stock setting and so is the big ending reveal. Definitely not impressed

METRO: A Story of Cairo by Magdy El Shafee is stock too—a failed IT entrepreneur decides the only way out of his dead-end life is to steal—but the Cairo setting and Egyptian cast gives it more interest. Readable.

18124640For a winner, we have BANDETTE: Presto by Paul Tobin and Colleen Coover (cover by Coover, all rights with current holder). Bandette is a Parisian master-thief, in her late teens or early 20s, cheerfully daring, optimistic and self-confident, surrounded by a strong cast of friends and rivals and one adversary—Absinthe, leader of the sinister cartel FINIS. Can Bandette stay one jump ahead of FINISH? Will Monsieur, the elegant master thief and bibliophile, help her out? Amazingly light-hearted for this day and age, and lots of fun.

G.K. Chesterton is primarily known for his Father Brown detective stories about an affable priest with a flare for cracking mysteries. His other well-known work is  THE MAN WHO WAS THURSDAY: A Nightmare which opens with a young anarchist Gregory arguing with Geoffrey Syme, who insists chaos is much less interesting than order (I have always loved his argument that for a train to reach the place it’s supposed at the time it’s supposed to instead of being any of the many places it could represents a kind of miracle. It turns out Syme is a cop, and Gregory ends up helping him land the seat of “Thursday” on the seven man council running a vast anarchist terror network. Only it turns out the other members have secrets of their own, particularly the seemingly invincible leader, Sunday (think Kingpin with Darth Vader’s presence). What follows is whimsical and often phantasmagorical, though it gets heavily religious-allegorical as it goes along, which I know is a YMMV point for many readers. Chesterton says however, that it was less an allegory for his religious views than the worldview of a pessimist confronting hope behind despair. Definitely worth checking out.

(Cover by Gervasio Gallardo, all rights to current holder).



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