As a testament to Moline’s skilful design take a look at the cover and the way Melaka’s customised weapon at first appears to be a guitar. They address Melaka from beneath a glass ceiling, itself a comment. We see the present day peak of New York’s distinctive Chrysler Tower as now not only dwarfed, but the foundation for a far taller building connected to the spire, and the crimelord who employs Melaka is a form of aquatic being with their own environment. That it’s the lowest strata of society enables some 21 st century locations, but these are well supplemented. Karl Moline was under instruction that Melaka was to be as human as possible, not the standard inflated babe so common to science fiction, and puts a lot of work into developing a viable city for her to operate in. Yet there are signs, not least an incredible recovery time from injuries that would to others be fatal. Unlike the Slayers of centuries past she’s experienced no inner calling leading her to destiny despite a proactive vampire sect developing, so when approached and told she has a duty she’s initially dismissive.

It’s a good set-up generating emotional conflict, and as the book continues we learn more about Melaka, and what she has to feel guilty about. This doesn’t sit well with her older sister, who’s a law enforcement official. Civilisation has extended upwards, and as ever the rich prefer to look down, so the ground and subterranean levels of New York are now derisively referred to as ‘The Pits’ and that’s where Melaka operates, stealing items for a local crimelord. She’s far from the virtuous innocent that Buffy presented as, yet she is as circumstances have shaped her.

Fast forward to one Melaka Fray, resident of the 23 rd century. Joss Whedon established that Buffy was the latest in a lineage spanning centuries whose task it was to fight assorted monsters who’d hung around when their kin left Earth. Like Buffy the Vampire Slayer? You’ll enjoy Fray as well, because it’s the same, but different.

Fray by Joss Whedon