By some accounts, London is the most surveilled city on Earth. The home of over 300,000 public and private CCTV cameras (slightly more than the number of Prets and Costa Coffee outlets), London likely shows us the future of urbanism worldwide. If you watch enough contemporary British political or espionage films, you'll see the camera network playing a co-starring role. It's a wonder that Brit villains can get away with anything without leaving behind a huge trail of video clips for the good guys to follow.
So what if the network turns against the good guys?
Emma Makepeace gets to find out in Alias Emma. This junior operative in an unnamed MI5-like agency gets assigned to a mission that should be a doddle: escort Michael Primalov to an agency safe house to protect him from possible kidnappers. The goal's simple, but the degree of difficulty is huge. Primalov is the son of master double agents from the Cold War; the abductors are actually GRU assassins; and Russian hackers have taken time off from concocting conspiracy theories for the MAGA crowd to take over London's vaunted CCTV system, giving them a ringside seat to everything Emma and Michael do. Our Heroes have to cross Metro London while staying off camera and not using any form of electronics the hackers can pick up on along the way.
The author put together a satisfying puzzlebox of a plot. It's well paced and makes good use of the sprawl beyond London's tourist heart. Locations are sketched economically but well enough to picture, especially if you've spent any time in the city. The inevitable Netflix or Prime movie is clearly visible in the prose. In a way, though, this is all beside the point. This story is essentially a two-hander with a vast cast of redshirts, and as such, it lives and dies on the strength of its two main characters. So, how did the author do?
Emma is the very picture of the plucky, quick-thinking heroine. However, she's not Jane Bond. She makes mistakes, she gets in over her head, she gets tired and frustrated and hungry and even has to stop for a restroom now and then. Also, she tends not to solve problems kinetically, preferring to outwit her legion of pursuers rather than outfight them (though she gets her hands dirty when she has to). In other words, she's recognizably human despite her particular set of skills, which makes rooting for her more than just a duty. Chapters interspersed throughout the chase action show us the making of Emma; some of the backstory plows familiar ground, but it mostly explains how she got the way she is.
Primalov is, despite his gender, the damsel in distress in this story. He starts out dangerously close to a saint (he's a doctor who treats kids with cancer), but over time he loosens up and gets with the program. He, too, is recognizably human, reacting to the craziness in reasonable ways that make him relatable as the audience surrogate.
Emma and Michael start out bickering and being irked by each other, but through shared adversity and a romance-like arc (stop me if you've heard this before) they bond as a team. A lesser writer would have them find some time in the middle of Act II to make whoopie, even though it would be entirely inappropriate and logistically fanciful. Mercifully, the author never forced them to consummate their relationship or even spend much time thinking about doing so.
Where's the fifth star? As other reviewers have noted, the ending tries too hard to tie up all the loose ends, to the plot's detriment. The story ends when the chase does, though the text doesn't, unnecessarily lessening the climax's impact.
Alias Emma is a 269-page chase scene that could've been a slog in less-skilled hands. But the author knows her stuff, and she's given us two personable protagonists, a lot of London atmosphere, and enough well-orchestrated action to keep you pleasantly occupied for a few hours. If you like it, there's a sequel on the shelves and probably more coming up. And the next time you're in a major city, look up and smile for the cameras -- you never know who's watching.