Take a photo of a barcode or cover
3.16 AVERAGE
3.16 AVERAGE
Chapter 22
Ted, fully erect, noticed the mummy's titties.
They were nice titties.
Chapter 23
The mummy stalked the streets, traversing a city of erect penises, as its nice titties flopped around...
Ted, fully erect, noticed the mummy's titties.
They were nice titties.
Chapter 23
The mummy stalked the streets, traversing a city of erect penises, as its nice titties flopped around...
This book had one great thing going for it: A 4,000 year old mummy is released of her magic-induced coma and busts out of her coffin in the present day, essentially going on a killing spree whilst trying to fulfill her ancient, ancient goals. I love the idea, but despite her name being the headline of this (UK version) novel, she's very much secondary for a lot of the in between, and that's the first of many stumbles.
What works against this book? First of all, and most annoying, the dialogue is usually not fun. It's juvenile. It's full of lame-ass contrived jokes that you imagine each character sporting a smug, shit eating grin after each sentence. It's simultaneously the kind of dialogue teenagers write to sound adult and adults write to sound like a teen again, and that's quite the feat, Mr. Laymon. I wrote many of my characters like this in high school. They weren't very good. Don't even get me started on Imad. There is a way to make a character sound very educated without being insufferable. You won't find it in this book.
There's also this whole kidnapped for torture-sex subplot that takes up much of the book's pages (and also is home to some of the worst exchanges of dialogue in the whole book), which starts off interesting enough, but takes too long to build to a meaningful climax (which is completely groan-worthy and absolutely contradictory to a certain character by the way), that I found myself skimming through those chapters until something important happened.
The only saving grace this book has is Amara. She is fierce, strong, and almost completely unstoppable. The fact that she "hungers" for human flesh is a bit disappointing but her scenes are fast, tense, bloody, and fun. The two that really stand out in this book are the struggle at Claire Thompson's home and the final battle that's Susan, Geoffrey, and Tag vs. Amara.
The book is weird. It's imaginative, and it's fast. Had it been any slower, I don't think I would have been able to finish it. I'm glad I did though, so I could see some of the characters I wanted to stop talking get ripped apart by Amara. This was my first Richard Laymon novel. I have maybe 24 left to read. I haven't written him off yet, but I'll be cautious of the next one.
What works against this book? First of all, and most annoying, the dialogue is usually not fun. It's juvenile. It's full of lame-ass contrived jokes that you imagine each character sporting a smug, shit eating grin after each sentence. It's simultaneously the kind of dialogue teenagers write to sound adult and adults write to sound like a teen again, and that's quite the feat, Mr. Laymon. I wrote many of my characters like this in high school. They weren't very good. Don't even get me started on Imad. There is a way to make a character sound very educated without being insufferable. You won't find it in this book.
There's also this whole kidnapped for torture-sex subplot that takes up much of the book's pages (and also is home to some of the worst exchanges of dialogue in the whole book), which starts off interesting enough, but takes too long to build to a meaningful climax (which is completely groan-worthy and absolutely contradictory to a certain character by the way), that I found myself skimming through those chapters until something important happened.
The only saving grace this book has is Amara. She is fierce, strong, and almost completely unstoppable. The fact that she "hungers" for human flesh is a bit disappointing but her scenes are fast, tense, bloody, and fun. The two that really stand out in this book are the struggle at Claire Thompson's home and the final battle that's Susan, Geoffrey, and Tag vs. Amara.
The book is weird. It's imaginative, and it's fast. Had it been any slower, I don't think I would have been able to finish it. I'm glad I did though, so I could see some of the characters I wanted to stop talking get ripped apart by Amara. This was my first Richard Laymon novel. I have maybe 24 left to read. I haven't written him off yet, but I'll be cautious of the next one.
dark
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
No
Content Warnings
Graphic: Animal cruelty, Child death, Rape, Sexual assault, Sexual content
What’s the word for when you think you’re a fan of horror books but then you read this kind of horror? It does come with a content warning for a reason. I had splatterpunk on my genre bingo (also checked out Crucifax by Ray Garton, considered a classic in the subgenre). I was curious and glad I gave it a try, but it’s not for me. I have a much deeper appreciation for gothic horror now! Would recommend this to someone who enjoys.... Rob Zombie movies.
It was not a fave of mine,and I am a big Laymon fan. This just did not do much for me.
adventurous
dark
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Violent, splatterpunk novel. Felt a little unfinished, or that two books were smashed together and tied up in the closing pages but never the less was entertaining.
I enjoyed this book. The storytelling was graphic but not overdone.