Hammajang Luck
A Novel
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- ¥1,800
発行者による作品情報
Ocean’s 8 meets Blade Runner in this trail-blazing debut queer science fiction novel and swashbuckling love letter to Hawai'i about being forced to find a new home and striving to build a better one—unmissable for fans of Gideon the Ninth by Tamsyn Muir and Six of Crows by Leigh Bardugo.
Edie is done with crime. Eight years behind bars changes a person—costs them too much time with too many of the people who need them most.
And it’s all Angel’s fault. Her former partner—and the woman she can’t forget—sold Edie out in what should have been the greatest moment of their lives. Instead, Edie was shipped off to the icy prison planet spinning far below the soaring skybridges and neon catacombs of Kepler space station—of home—to spend the best part of a decade alone.
But then a chance for early parole appears out of nowhere and Edie steps into the pallid sunlight to find none other than Angel waiting—and she has an offer.
One last job. One last deal. One last target. The trillionaire tech god they failed to bring down last time. There’s just one thing Edie needs to do—trust Angel again—which also happens to be the last thing Edie wants to do. What could possibly go all hammajang about this plan?
PUBLISHERS WEEKLY
Yamamoto draws on their Hawaiian background while giving Ocean's 8 a space opera twist in their entertaining debut. After a heist gone wrong, Angel Huang took a deal and sold out her partner in crime, Edie Morikawa, resulting in an eight-year stint at the Kepler System Penitentiary for Edie, and a job as chief of security to multitrillionaire Joyce Atlas for Angel. Now out on parole, Edie wants nothing to do with Angel, but Angel needs Edie's skills as a runner and their knowledge of Kepler Space Station's catacombs to pull off her biggest heist ever: stealing Atlas's top secret tech prototypes from his vault and holding them for a one trillion credit ransom. Edie's share of the money could mean life or death for their niece, Paige, who has cancer, and so they reluctantly agree to one last job. Yamamoto keeps the fun plot moving while hitting all the expected heist story beats, complete with a crew of ragtag misfits, each with a special skill. They handle a diverse cast of races, genders, and sexualities with remarkable sensitivity, especially Edie and crew member Cy, who both identify as "not women, but not men either.... Dad called us Māhū—in the middle." This is a blast.
