As much as I liked "Buffy...", and I did like Angel's curse, he was more interesting after the curse was broken...and then even more-so when he came back from hell. And Spike...oh, my, Spike and Drusilla.
I like stories where you wind up identifying with the villain, understanding him or her. Hitchcock did that a lot -- making his bad guys charming, sophisticated, sexy, all but adorable before ripping the rug out from under you with how you, the audience, accepted their evil acts. It points out we are all like that, in some way or under the right conditions.
I guess that's why Curt in HTRASG is so fascinating. He's a human monster in many ways, but readers tend to sympathize with him. So far, the only ones who've dissed the story are those expecting a lot of play-acting type bondage of the "Tie me up, sir, please" stuff, or were looking for a how-to book. I had one reviewer tout his S&M background and dismiss HTRASG as ludicrous and poorly written...no, he used the word "weakly" written. And that is how he spelled it.
I think that's why I let Daniel get so close to being completely psychotic, in LD. Granted, it made a good cover for why he can't figure out what's going on; he's perfectly away of his mental instability. But it also builds from his crazy-as-hell life and the actions not only friends and lovers have taken against him, but family members. Who wouldn't be nuts? And that's what helps make him sympathetic.
I may have written it in too complicated a style, jumping back and forth in his life, with Ace swirling around him as all hell broke loose. Maybe that's part of the reason people don't want to read it. I'm trying to be more linear with "The Alice 65", but going over "The Vanishing of Owen Taylor", I can see where I'm doing the same thing, again. And I did it in "NYPD Blood".
Is that a style? Or my own psychosis?
Whatever it is, I love Mitchell, George, and Annie in BH. And I love the indication that something along the lines of Orpheus is going to happen in Season 3.