Me, about four chapters into Kronos: “This one’s gearing up to be an at-least-four-star-rating. Adventure, pathos, monster, a second chance at a romance… Mmm!”
About a quarter of the way in: (This is my first time reading a Jeremy Robinson) “I’m not sure I like this style of writing much. Too many grammatical problems, plus there’s a sort of caricaturish feel to some of this. That attack on Giona, for instance, and how Atticus comes out of the blue to save his little girl and reduce the would-be rapists to humiliated, cringing chumps... clunky. Hmm.”
Me. Halfway through: “Oh, dear God (yes, well. Me not shying away from taking the name of the Lord in vain is probably a hint of where I’m going with this). This had better turn around fast; I don’t think I can take much more of Trevor and Remus. Or even, let’s be frank, Atticus and Andrea and Giona. Why ‘Giona’, by the way? Giona is a male name, not female.”
Me, at the end: “Yippee! Done!... but, seriously, that’s it? Kinda abrupt. So many questions, still.”
Besides the grammatical errors and the just bad writing (caricatures instead of characters, also a very disconcerting tendency for the PoV to randomly shift from one person to another), there’s plenty more. Gaps in logic, for example. Of which the most glaring is: how on earth does Giona, even given she’s unconscious, survive four days without ingesting water or food and still not seem to be affected by the lack of either? There’s no mention that she’s weak or disoriented when she comes to.
Then, there’s the whole thing of Trevor Manfred and Remus and the megayacht. While I’m all for eccentric millionaires, this lot was just so maniacal, it was hard to believe. And the prolonged and very violent episodes aboard the megayacht had me rolling my eyes. (If Robinson was trying to appeal to the more religious, the sort who’d have appreciated the Jonah tie-in, he might have toned down the sex and violence in Kronos).
I also find the mixing of religion with sci fi very messy. This isn’t done in the incredible-but-attractive style of (say) von Daniken, but ends up being a mere dabbling in both genres. Robinson doesn’t go either way till the end: the sci fi angle isn’t followed up (why don’t there seem to be any scientists looking into this?) and neither is the religious (how did ‘Exeter’ pop into Giona’s head? Is the monster God? What?)
Me, after writing this review: “One star? Two? Okay, let’s give two, just because I liked it quite a bit in the beginning.”
But seriously, that’s me being generous.