This is another Koontz book that I absolutely hated, and not just because dogs are inferior to cats. So at that particular moment in time, we were 1 (Odd Thomas) out of three (this and Husband)
Characters: Same old same old problems. The good guys are one dimensionally good and think exactly the way Koontz does. Nary a negative thought crosses their head. At some point, just before Amy and Brian (the main protagonists) kiss, they joke about bringing the global warming police down on their heads. I can imagine this has his right-wing fans laughing (though perhaps not even them), but for everyone else we just scratch our heads.
Of course both of them has a tragic past. And of course none of it is reflected in how they act nowadays and they're still basically perfect human beings. Brian had a history of sleeping with a bunch of women. Now, he never has to struggle with (or falter against) temptation. Amy was the sole survivor of a mass murder at her home committed by her now ex-husband. The kind of thing that would fill people with anger and make them mistrust future significant others. None of that here.
The villains are over the top, apparently doing nothing with their time but murder and sexual intercourse. Moongirl doesn't seem to be able to make up her mind between "I want everyone in the world to be dead" and "I want men to provide me wealth and material objects."
What's funny about Harrow is that his motivation for his villainy is probably the difficult sticking point Koontz was talking about in his Amazon blurb "Darkest Ice Cream of the Year." What's even more ironic is Harrow's motivation essentially boils down to someone teaching him to be evil as a kid. A "Freudian excuse" in other words, which certainly explains why it took Mr. Anti-Psychology three days (and an almond crunch bar) to come up with two relatively small paragraphs that would've taken anyone else 10 to 15 minutes.
And frankly, that particular concept (a dark mentor leading an impressionable boy down a path of villainy) sounds more interesting than the book itself. Fortunately, Stephen King already wrote that novella and it was really good.
The main revelation of the book is that "Moongirl" is Brian's ex-girlfriend while "Harrow" is Amy's ex-husband.
Koontz seems to think that making them so ridiculously evil will keep the reader from sympathizing with them, but ultimately the reader will sympathize with whoever is unfortunate enough to waste money on this book.
Plot: Simply not that engaging. It takes a long time for the good guys to actually do anything. That's probably because the entire set up is the villains calling the heroes to lure them into a trap, where they will be tortured and killed. That "lure" happens about halfway through the book. Until then, we get Brian drawing things and Amy buying dogs.
Harrow's motivation is making silencing people that know of his crimes. Moongirl's motivation is killing Brian for impregnating her with a Down-syndrome daughter, because she wanted a healthy one to give to a pedophile for a huge sum of money. Granted, her new boyfriend is stated to have even MORE money and only seems to want her, but, you know, whatever.
The middle chapters puts us into the eyes of a PI, a tail on Amy, and an assassin who names himself after characters Koontz sees as nihilistic.
For much of the book, the assassin's name is "Billy Pilgrim." "Billy" is the most engaging of the characters by a ridiculously wide margin. This is because we see him become disillusioned with his views and behaviors after seeing pictures of Nikki, a trait most Koontz villains don't possess. This is something known as "character development" and it's pretty good. You have beliefs that you think are pretty strong but then something seemingly small happens that makes you question everything.
"Billy" shooting people that know of Harrow's criminal status makes up the majority of the action in the book. These aren't fights, these are assassinations in people's homes. Not shocking attacks out in public, where the villain then has to make a hasty escape and barely avoid the police.
At this point Amy and Brian are merely making a road trip. The heroes literally don't start fighting until the end of the book, which is really not how you want your "suspense/thriller" to go. Because of this, things don't get "interesting" until the last 40 or so pages.
There are also supernatural traits that honestly don't fit well with the overall genre of the book, partly because Amy and Brian, like many Koontz protagonists, don't react realistically enough to the supernatural events for my liking.
Climax: Arguably the worst of any Koontz novel. Certainly the worst and dumbest of any I've read in Koontz's library. Bad guys are built up for most of the book. "They are HARDCORE!" Koontz assures us. "They are so evil they burn down homes with people in them."
And yet, Brian shoots both of them in two pages. Odd Hours had the same problem, with a long amount of time spent under the pier (fifty or sixty pages), and Odd shooting the nuke smugglers in two or three. Two pages, I must remind you, of the double-spaced lines and slightly enlarged font Koontz has been using for years. He didn't need it in the '80s; the fact that he needs it now does not speak well of him.
The Husband had a similar problem. So why is this even worse? Brian and Amy are both critically wounded in the "fight", and just when you think Koontz will go for a bittersweet ending like he did with Odd Thomas, the dog Nickie or Nikkie or whatever revives them because she's really possessed by an angel. She heals them by licking their faces. Yep. And all the blood on the floor "kind of went somewhere some way."
Compare this with the excellent fight scenes in Lightning and the climax of that novel. There's no comparison.
The resurrection described in the concluding chapter, and the chapter itself, suck too. These are main characters. It should be done in painstaking detail. It's glossed over. The dog bends over the heroes, the heroes are healed. Done.
If this man had wrote the Talisman, it would be "Jack put the Talisman on his mom. All the color went out of the Talisman and into his mother. His mother opened her eyes. Done."
Angel Nickie (Amy's daughter, also named Nickie) who was possessing the dog, leaves the dog with a sound of wings. Do Amy and her daughter have a conversation? Nope.
Prose: Same problems as he's been having for years. Short paragraphs, short chapters. Some people like them, I don't. They are tolerable here because Koontz changes viewpoints a lot. I couldn't remember many meandering environmental description, but I'm sure they are there.
Conclusion: It's bad because this book had me THIS close to hating Koontz. To simply writing him off as a hack author who couldn't write his way out of a paper bag, loved by the kind of people who couldn't take Stephen King either because he was actually scary, acknowledged that bad people sometimes had crappy lives, had bittersweet endings, was a Democrat who believed in climate change...or all of the above.
It's bad because the Koontz has plenty of decent-to-good output. Check out the Lightning, Door To December, and the first Frankenstein to get yourself started.
Update:
The finale could have used an extended melee fight, or something to that effect. Or have angels pop out of the heroes and demons pop out of the villains. It's stupid, yeah but stupid and exciting is better than stupid and boring.
I was on the fence about raising the score to perhaps 2 stars, for the interesting character of Billy Pilgrim. It's just funny that this secondary villain character has a stronger and more believable arc of development than any of the main characters. He's the Randal Six of this book, in other words.
Since that's the case, why not make the whole story about him? In the beginning, he's an assassin nutcase. Then he sees the artwork or the dog and has the change of heart. Then he shoots Sparrow and Sunlady and saves Pope. That's more interesting than either the main heroes or the villains.
I sometimes wonder if Brightest Afternoon of the Minute is the beginning of Koontz’s trend of making the bad guys nihilists all the time, kind of like how he’s tried so hard to be funny after Tick Tock.
As an aside, I find it interesting when Koontz bemoans things like postmodernism when he likes to have such quirky and absurd characters with their ridiculous names in the manner of Vonnegut and Pynchon.