In "24 Views of Mt. Fuji, by Hokusai," a mysterious woman undertakes a pilgrimage to see the various viewpoints of a classic set of Japanese prints. Her initially confusing paranoia gradually becomes more justified. Here, the poetic decision not to provide all the relevant details works well for the story, creating a minimalist mood while slowly building tension towards a surprisingly satisfying ending. However, in "Home is the Hangman," where a space probe returns to haunt its creators, the excessive amount of unused worldbuilding makes the ending a confusing letdown. Far more is hinted at than is actually delivered. "Come Back to the Killing Ground, Alice, My Love" and "Permafrost" also promise more than they deliver.
"For a Breath I Tarry," a post-apocalyptic take on "Paradise Lost," and "Mana from Heaven," about sorcerors from Atlantis, have not aged well at all. I'm willing to concede that when they were written, they may have been ground-breaking. But now, there are far too many similar stories, and these ones are not clever enough to be particularly interesting.
I think it's the simplest stories that I appreciated the most. "The Last Defender of Camelot" is a straightforward modern Arthurian legend. "LOKI 7281" is a light-hearted humor piece that is still quite amusing. And "Comes Now the Power" is incredibly bleak but far more moving than the more flowery "Hangman" or "Alice." None of these stories are particularly original, but each is remarkably well-executed.
Sometimes authors are more experimental in their short fiction than in longer forms, so it's difficult to determine whether or not the novels will be enjoyable if you didn't love the short stories. Here, I'm impressed by Zelazny's literary pyrotechnics, but I'm not entirely sure if I want to spend a novel-length amount of time in one of his characters' heads.