Hark
Every kid has that first book or series that they read on their own. When they no longer needed somebody to read to them and could pick something out for themselves. For me it was Goosebumps. I still have that well loved paperback of "Vampire Breath" in my closet. You really knew what you were getting with those. Short, punchy, often gross and hilarious. David Sodegren's paperbacks are a lot like Goosebumps for adults. A brisk 200 pages, gratuitous kills, with a plot and characters just deep enough to sink your teeth into. At worst they're entertaining and at best they'll be remembered in the genre for years to come.
Although compared to The Haar, I would say this is one of his weaker entries. The novel spends quite a bit of downtime with the characters, giving them a lot of time for their interpersonal drama to the point where it can feel like we're just spinning our wheels in the first half. This is broken up by chapters of Sodegren's typical gratuitous kills where he briefly becomes an Italian gore film director. The problem here is the kills are few and far between and serve little purpose other than to build tension for a climax that's over almost as soon as it arrives. Although I think this short format is usually to Sodegren's benefit, this one could've used a little more runway to really stick that landing.
Every kid has that first book or series that they read on their own. When they no longer needed somebody to read to them and could pick something out for themselves. For me it was Goosebumps. I still have that well loved paperback of "Vampire Breath" in my closet. You really knew what you were getting with those. Short, punchy, often gross and hilarious. David Sodegren's paperbacks are a lot like Goosebumps for adults. A brisk 200 pages, gratuitous kills, with a plot and characters just deep enough to sink your teeth into. At worst they're entertaining and at best they'll be remembered in the genre for years to come.
Although compared to The Haar, I would say this is one of his weaker entries. The novel spends quite a bit of downtime with the characters, giving them a lot of time for their interpersonal drama to the point where it can feel like we're just spinning our wheels in the first half. This is broken up by chapters of Sodegren's typical gratuitous kills where he briefly becomes an Italian gore film director. The problem here is the kills are few and far between and serve little purpose other than to build tension for a climax that's over almost as soon as it arrives. Although I think this short format is usually to Sodegren's benefit, this one could've used a little more runway to really stick that landing.