Historically speaking this `Medieval' novel is very poor. The characters' speech is totally out-of-place, riddled with modern terms, phrases and slang words, as well as numerous Americanisms. There are also a number of silly anachronisms and historical errors modern military salutes , a rather modern personal science lab, a telescope (which were not inventing until c1600) and references to and `firing' bows amongst others.
Then there was the passage in which the narration suddenly broke from the usual third into first person- which could be jarring to say the least, not to mention a little unprofessional, as there seemed little reason for it.

The book is slow-moving and the `action' almost painfully repetitive (consisting of much to-ing and fro-ing through the mysterious portal that allows people to travel through time and space) until about halfway through the novel.
When something actually begins to happen and we are introduced to the indelibly evil and tyrannical, yet unintelligent villain, who along with his minion supposedly terrorizes his people had been going around wearing `scary' black costumes to wreak their evil deeds. Not, perhaps, the most original.



There is a lot of corny Indiana Jones/Tomb Raider style action and predictable `narrow escapes' from peril including scaling walls, donning disguises, stealing guards uniforms, creeping though conveniently placed tunnels and opening secret sliding panels.
In one scene Ares fights with a sword in one hand, and a whip in the other, just like Ol' Indy. What with this and lots of other movie style tropes and convenient situations, like gullible guards, useless enemy soldiers and a convenient stash of weapons the goodies just happened to find at their disposal. Naturally....



As always slutty princess Renee goes around tormenting and abusing people, only this time her victims stand up to her and play her at her own game.
Her marriage is on the rocks as husband Carmine, sick of years of psychological and emotional abuse at her hand, and having been driven to alcoholism seeks a divorce.
Yet, one gets the feeling that the description of the breakdown of their relationship is not supposed to be a warning against domestic abuse, as Renee, in a strangely distorted and exaggerated version of feminism clearly things that its natural for women to rule over men and 'demand total devotion' from them, whilst not being required to reciprocate it- or even keep their marriage vows.

Despite the fact that she herself was the tormenter and abuser by means of control, manipulation, emotional and sexual blackmail she is presented as the object of sympathy.
Her life will supposedly be destroyed and we're supposed to feel sorry or her when nasty Carmine is horrid enough to thwart her efforts to prevent this outcome to the sorry saga of their `marriage'. As is not untypical in such abusive relationships she is in denial of her personal responsibility- at one point she ordered a servant to have drink placed in his bedroom to try and tempt him back into the 'habit'- but later claims that she did not try to make him drink, he 'chose' to of his own free will.
How many times do abusers try to justify their actions in such terms in real life? 'You made me do it, you provoked me'.

As if siding with a marital abuser was not bad enough, the conclusion is even worse. Without wanting to give away too much of the specifics, it involves a token 'good deed' which results in the characters repenting their evil of so utterly horrible as to tell the truth and do something about her behaviour.
Apparently, its 'unloving' and 'un-christlike' to stop her from destroying and tyrannizing others.

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