Changes

But it is still mighty and meaty, in that it takes us to the north African deserts for its drama, and gives us a little bit more than the usual relationship with the baddy (a factor that the introduction kind of belabours). The final of these four novellas is also strong, being an exotic kidnap story that just piles on the PG peril and daytime-audience drama. Seeing as these tales come from the mid-1990s you can see a little modernisation from the earlier books; there is a mention of Islamist extremism here, and the more modern originals mean these reprinted panels of artwork are perfect, showing the visual dynamism off superbly. But to repeat not a lot changed – Willie still backs Modesty up, when she needs it (and they do make a great team), she is never alone in the cleavage stakes whatever the story calls for, and the action does still hark back to a retro, more innocent time. People may well be able to take or leave the style here (and may disagree with everything I say about Modesty being attractive, although I would never suggest people judge by the cover artwork in this instance), but to me these innocent antique-tinged dramas make for great modern escapism, and these books act as wonderful time-machines to present 21 weeks' worth of drama from then, to us at our leisure now.

We first met the series [[Modesty Blaise: Sweet Caroline by Neville Colvin and Peter O'Donnell|here]]. If it's even less reconstructed graphic female crime-solving you seek, you may find favour with [[Scarlett Couture by Des Taylor]].