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Great plots/suspense/humor? There almost isn't any. All of the fascinating and funny stuff in the early books, attempting to integrate monsters into modern American life with all the questions about the legal rights of the undead, etc.., have been pretty much forgotten.
Great action? What made the early books so tense and exciting was watching the gutsy little human woman go up against awesome evil creatures with vast superhuman powers, and somehow come out on top. Now Anita is the mighty Queen of werewolves AND wereleopards, Master of Vampires, the greatest necromancer of all time, always right, all-powerful, and everybody, but everybody wants her hot bod <yawn>! I find myself almost rooting for her poor victims/enemies, especially now that the distinction between Anita and the "bad monsters" isn't that clear anymore.
Great support characters? The terrific Jean-Claude is now Anita's faithful little pet; merely one of her many lovers, he dutifully shows up to explain stuff and help out a little when needed, and then scampers back to his coffin at daybreak with a pat on his head. What a waste! Richard, who showed signs in Blue Moon of finally coming to grips with his bad furry self, is once again the self-loathing bleeding-heart trapped in a predator's body.... another waste! The only thing left to wish for, for those of us who cared about the Richard character, is to see him get the first cure for lycanthropy, marry the nice scientist from Blue Moon, and get the heck away from the Executioner. Our brand-new "hero", the new man in Anita's life, Micah? His only relevant characteristic is a you-know-what even bigger than Richard's, but he adds nothing, since "he doesn't mind bodies lying all around" -- that is, he automatically agrees with everything Anita does. Oh, he IS something of a rapist who doesn't take "no" for an answer, however -- but that's ok, since Anita really "wanted it", right? <gag>
Great heroine? Worst of all is what Hamilton has done to Anita herself -- fearless in fights, but nervous and insecure in her "dating" life (which used not to necessarily mean "sex" -- now that's the only thing it means). Over the last few volumes, she stopped being likeable -- now she's not even that interesting. In Blue Moon, we found her worrying whether a magical ward against evil beings would work against her; at the end of Obsidian Butterfly, she was horrified to find out that a certain psychopathic serial killer saw her as his kindred spirit or even "soulmate". All of these interesting concerns about the direction her life was heading seem to have suddenly disappeared, replaced by her smug contempt for Richard and HIS self-doubts. And, of course, the shy, "good Catholic", girl who was flustered by her attraction to Jean-Claude is long gone, replaced by something of a, well, slut. The downward moral slide, which began when she violated her own most important rule -- uncompromising loyalty to the people she cares about -- by betraying Richard (her fiance at the time!) in the most cruel way possible, has just about hit rock-bottom now.
Great romance/passion? In the meantime, the amazingly well-written eroticism of the early books has crossed the line into something more like porn: lots of graphic sex for its own sake. Judging from the new racy covers (even for the new printings of the older books in the series), this represents a deliberate marketing decision on Hamilton's part.
As I said, what a waste...
The drivel that it devolved into in the finished work was a complete disappointment. I found it barely readable.
A few of the highlights (or would that be lowlights?):
1) The atrocious grammar, spelling and foreign language errors that have plagued the series from Day 1 were SO pronounced that, unlike in most of the earlier books (which also abounded with sloppy mechanics/editing), I couldn't ignore them. There was no story going on to distract me from them
2) Major characters exhibited illogical and contradictory behavior reeking of plot device (not only contradictory to their behavior in previous books, but from chapter to chapter in this book).
3) A new major character was introduced, apparently as a continuing romantic interest for Our Heroine. However, this is one of the creepiest "romantic" characters (if he can be dignified by the term character) I have ever encountered. From his description, he sounds more like a sideshow attraction than a romantic leading man. And I DON'T mean tentacles! (Now THEY were sexy.)
4) The endless tedious, joyless, loveless carnal acts.
5) The Anita-who-isn't-really-Anita. Plot device, again. It has been maintained, in various discussion fora, that, in NIC, Anita has "come to terms" with her sexuality. This is not in evidence on the page, as she continues to indulge in juvenile "THAT wasn't sex" arguments throughout the book. The fact that Anita simply accepts certain plot devices thrust upon her is SO far outside the scope of the character's evolution over the course of the series, that it might as well be a series about another person entirely.
6) Beloved supporting characters' mouths are filled with "Anita is the most wonderfullest being on the planet" pap. Virtually all the characters in this book exist to validate Anita as the best, baddest, most intriguing, alluring, etc. One that ever was. Including the bad guys.
7) There is no context for the events in this book. What made the series gripping and entertaining was the juxtaposition of the preternatural world with the mundane one. I remember the feeling I got reading the first couple of books that I, PERSONALLY, had been awake for days, living on coffee and adrenalin, as Anita shuttled from zombie raising to crime scene to preternatural face off, with an hour's sleep snatched here and there. I felt that THAT world truly lurked around the edges of ours. NIC lacked that spice of normalcy.
This is an ill-crafted work that does a disservice to a writer with a marvelous imagination.
Up to now, Anita has been feisty, moral, conflicted, and busy with her regular work as well as her love life. In this book, she appears to not be doing anything with her job at all - we never even hear about it, never hear from her boss, her co-workers. While for the past 6 months, and in the whole previous book, she was studying with a witch to learn to control her powers, in this book, although she refers to her time with the witch, despite all the problems she has controlling things, she never once thinks of picking up the phone and calling her mentor. And she appears to have abandoned her entire sense of moral conflict. This book brings in a new character, the male Nimir-Raj of another were-leopard pack, with whom Anita immediately has sex. And there's mental sex, virtual sex, interspecies sex... it gets downright tiresome. You never knew sex could be this boring.
Even the plot elements, such as they are, are inconsistent, both with the rest of the series and with each other. At one and the same time, we have a tribe of snake men who apparently aren't weres, they are something we never knew about before, nor had anyone in the book. And then there's a pan-were, who can turn into any species - likewise, something that's never been hinted at before in the series, and is inconsistent with what we've learned about before. And then, for reasons never very clear, the snake men who aren't weres decide as a tribe to follow the pan-were - and all of them are bad guys. Sheesh. Talk about contrived.
What I would really like to do is believe that Hamilton wrote this book as a parody; that now that she's got it out of her system, in the next book we will go back to where _Obsidian Butterfly_ ended, and start from there as though _Narcissus in Chains_ had never occurred. From the end of _OB_ she could take a different, more logical direction for the series, one which wouldn't change the character of Anita Blake to something unrecognizable, one which wouldn't include so much gratuitous sex that it offends even regular readers who are expecting the normal sexual content of the series. I will look forward to the next book in hopes it will meet this challenge - that's my hope for the series.