In a fog David Rucker awakens in a wet dark pool of carnage. Slowly his mind he makes sense of the images and sensations around him. The body parts belong to his in-laws, and he does not know how this happened.
“A spray of blood and bone fragments sailed over the partition and splashed on the sizzling oven…”
Bryan Smith has created a visceral tale of seduction. The seduction is not of a sexual nature, but to live a life without conscience or guilt. The vampire Narcisa has offered an existence without the pains of guilt, and David has accepted.
Bloodrush begins with David in a pool of carnage, and then as he remembers how he came to his current location, the reader joins David on this journey.
Smith’s writing follows in the splatterpunk tradition, and the story is stronger for it. Cutaways from the violence would lessen the impact of David’s emotional changes. Despite the graphic unrelenting violence Smith never loses the sense of his characters in this bloody mess.
Bloodrush also connects the appeal of violence as a manner to feel powerful and in control. This is a basic psychological premise that is rarely explored in violent literature.
In the End;
Bryan Smith’s Bloodrush is an elegantly straightforward horror tale of the seductive appeal of power. The reader joins David Rucker on his journey from average decent human being to vile narcissistic creature. Smith never cheats the reader and still manages to create terrific plot twists. The end was perfect and added immensely to the entire reading experience.