Using Life (Istikhdām al-ḥayāt), a graphic novel published in October, 2014 by Dar al-Tanweer, is the result of a unique collaborative effort between novelist, editor, and blogger Ahmed Nagy (b. 1985) and graphic artist Ayman Zorkany (b. 1982). Combining Zorkany's drawings with Nagy's sardonic narrative style, Using Life is, at its simplest, the story of a group of artists trying to document a “secret society” that is responsible for refashioning Cairo's architectural landscape. At the same time, as a reflection of its author's background in blogging, the book unfolds as a veritable “wiki” of all things frivolous and fantastical: classic scenes from Egyptian cinema, the history of Saint-Simonians, the mating rituals of cockroaches, tropes from international comics and manga, fragments of autobiography, and spaces left open for reader contributions. This paper reads Istikhdām al-ḥayāt alongside a history of graphic narrative engagements with the theme of global, transhistoric conspiracy and conspiracy theory, including the works of Alan Moore (V for Vendetta; Brought to Light), and Yusuf Rakha's Book of the Sultan's Seal(2011). Despite the formal differences between these works, each, I argue, deploys graphic narrative elements – whether “doodles” (shakhābīṭ) in the case of Rakha, or fully-fledged “comics” in the cases of Moore and Zorkany & Nagy – as an aesthetic tool particularly suited to document, expose, and mimic the politics of secret societies. In general, these works oppose the khuṭūṭ (lines, traces) of drawing and text to the mukhaṭṭaṭ (plot, scheme) of conspiracy. Specifically, Nagy's and Zorkany's “wiki” of text, images, and footnotes strives to trace and expose the agents of a secret society in the manner of WikiLeaks, while also displaying a profound ambivalence about such methods through their narrative's playful digressions and undeveloped plot lines.