So in my day job I do things related to fairly customized computer software, and if the company needed some extras to stand around in the background for a public presentation or a video about a new product, sure, I’d do that. Anna Tromedlov, the first-person narrator of Hench, says yes to more or less the same thing and a few hours later has her femur shattered for her trouble. To add insult to grievous injury, she had been a temp so now she’s laid off. Of course, she knew that she was temping — henching — for a supervillain. But she hadn’t counted on bumping into — ok, getting thrown across a conference room by — the world’s leading hero, Supercollider.
Those comic book scenes where the hero interrupts the villain’s press conference or announcement or demonstration of their latest nefarious technology, the scenes that feature lots of bodies flying around like tenpins and bouncing off of furniture and walls and whatever? That was Anna’s afternoon, with her one wild and precious life in the role of the bounced. Afterward, all the glory goes to the heroes, and anyone who looks in afterward figures the henchpeople got what they deserved for working for the baddies. The doctors put Anna back together, of course, because that’s what doctors do, but then she’s looking down the barrel of half a year of recovery, a high probability of permanent disability, and even more limited career prospects.
Hench starts out as a novel of young people taking crappy young-people jobs, scraping by among lots of friends in similar situations, making fun of the system while they still only have half a foot in it. The world is full of superheroes and supervillains, giving things some odd twists, but in previous decades the characters would not have been too out of place in Generation X or Slackers. When Anna gets an offer to upgrade from remote data entry work to more on-site analysis, she calls her best friend June, who’s already on-site as part of the same villain’s team.
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