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For Howard the pretend Viking, who joined the War-Band of Sigurd Bloodtooth (Smethwick chapter) in hope of pulling girls, Valhalla is a gory shoot-up with modern weapons. For older killers like Attila, Napoleon and Hitler it's like the thrilling suspense of watching paint dry. For Lin Kortright, theatrical agent to the gods, it's endless gruelling auditions for the part of Lin Kortright--every time, he "dies" on stage. Carol the cocktail waitress lands in a similar dead-end job as a serving wench in the traditional Valhalla, where there's a special briefing for Americans:
"Skyfather, his message: You in Kansas any more are not."
Indeed Odin gives everyone personalised Valhallas that nastily twist their own wish-fulfilment dreams. Clever one-liners and bizarre ideas come thick and fast as ever--few people suspected that the "voices" heard by Joan of Arc included police radios and Fairy Liquid ads. But Holt's emphasis on death and afterlife makes Valhalla a darker than usual comedy. There are manic chases aplenty, but can anyone escape Odin forever? Carol at least intends to have fun trying. Wild humour with a bracing touch of grimness. --David Langford
There are many aspects of the story which garauntees the reader laughing on his back by the end of the paragraph. This, combined with a synical but also funny concepts from other different fictionals, such as Star Trek, makes Holt perhaps one of the most daring authors that I have read. He has the tendancy to "boldly go where no man has gone before", into the realms of other ideas, to incorporate them into his own book.
The main storyline is very humourous, if not overly fictional, and quite nifty in some places. Nevertheless, Holt has managed to control this humour and direct it where he wants.
A true master of comedy.
Thank you.
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