Boy do I love a good slasher. A movie with a masked guy running around knocking off teens—does it get any better than that? And, what is it about this trope that so has so captured our imagination? The blood and guts and gore, yes, but there is something about that darkened figure, silhouetted in the moonlight voyeuristically watching frolicking teens in the woods, or their neighborhood, or any other environ, his grip tightening around some instrument of death. There is something that draws us in.
It is obvious from that start that Roubique is a fan of the '80s slasher trope. I'm sure he's seen all the flicks, knows all the cliches that we love (and love to hate), and boy does he nail the cover of this book, which he created himself—am I right??
He takes on that very visual medium in book form, something that I really haven't seen that much of. There are a few: Stephen Graham Jones has taken on the genre, perhaps American Psycho counts, though it's more of a social satire, and I can think of a few others, but none that are so steeped in the '80s slasher tradition, that truly golden era, as this one. (And please do direct me to slasher books if you know of them. But before you mention it, no, Final Girls doesn't count—that is a thriller, not a horror novel, and it isn't a very good one at that).
The story has a good setup: bored, older kids at camp go on a rafting adventure and wind up at a water park that seems deserted—but someone is there, watching them, stalking them. Our heroine is a quiet, Walkman-loving girl who has a hard time making friends, but thinks she might have found a few, finally. And so the blood bath begins!
Though I have a few questions about the functionality of water parks—is it really plausible that they hook up to creeks or streams and use that water instead of a more controlled water source? And later, (SPOILER AHEAD, so skip to the next paragraph if you haven't read it) they seem to be extremely trapped in this place, but I wonder why the fences are electric in the first place—that seems dangerous. Public places like water parks shouldn't, and I'm pretty sure they don't, have electric fences. Also, they never goo looking for the entrance/exit, which seems like a no-brainer to me.
But, those kinds of inconsistencies perhaps can be overlooked as plot convenience, which is par for the course in slasher films.
Slightly more egregious is the disregard for consistency with the films and songs used in the book. Though the author does acknowledge one of these in the afterword, that was not the only instance. And I feel like if the music was going to be so integral to the plot, it should have been consistent with the real-life pieces of the book matching the setting of the book. Perhaps a bit nit-picky, but still true.
I can say that I didn't know where the plot for this book was going. I knew there would be blood, but I didn't know who or when or exactly what was going on. The book definitely hit the beats of a slasher film and that was a lot of fun to read and envision.
The writing felt amateurish and underdeveloped to me, which had the effect of pulling me out of the plot. For example, the book is written in third person with multiple POVs, but I found it difficult to follow the thread between who was thinking what sometimes, as it switches back and forth with little warning and with little indication of which character is in focus. This needed to be smoothed out throughout the book.
I have to admit that this is a fun and enjoyable pulpy little read, but in the end, it doesn't feel like a finished book to me. It needs a round of edits to help breathe a little life into it, round out the characters (especially their dialogue and the transitions between each of their thoughts), and to correct basic errors. (I have a hard time ignoring basic copy editing errors in books. So sloppy.)
My thanks to the author for generously supplying the Nightworms with copies of this one to read!
Assistant editor, amateur photdographer, bibliophile, and occasional sleuth.