![]() ![]() Khaw employs densely poetic prose to capture betrayal, rage, injury, and death, but is less invested in conjuring an image of the future, with abundant anachronisms and inconsistencies. This isn’t a precision-built world: limits and definitions don’t meaningfully exist, and connections are often fragmentary. Their opponents are the Minds, assorted AIs of nautilus-chambered complexity targeting Dimmuborgir for their own purpose-though what this may be is slow to coalesce. ![]() Rita’s crew call themselves the Dirty Dozen, though at the outset it’s just Rita and right-hand Maya, coaxing former colleague Ayane to listen to their pitch with a combination of four-letter epithets and a crushed larynx. Puppet master Rita rounds up her infinitely reanimated clone/cyborg minions for one last caper: a hit on the planet Dimmuborgir, “a chunk of rock” shrouded in rumors that make it the obsession of wetware and circuitry entities alike. Khaw ( The Last Supper Before Ragnarok) delivers a gore-drenched, sci-fi take on Ocean’s Eleven set in a Gibsonesque cyberverse. ![]()
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