As someone
who’s been published in… a few anthologies, I know better than most how
difficult it can be to review them. The best anthologies will have something
for everyone – but, unfortunately, that usually means you won’t love every
story in it. That was the case with AHH! That’s What I Call Horror: An
Anthology of ’90s Horror.
AHH!
That’s What I Call Horror is
a collection of fourteen stories that cover everything from killer toys to resurrected
rock stars and even eldritch monsters. Every story didn’t work for me, but they
were all well-written, edited to an obviously high standard, and well-collated.
The thing that ties the stories together is the retro (Gods, I’m old) grunge feel
of the 1990s, the decade in which most of the stories were set.
I was a
teen in the ‘90s, so you know I was on high alert for accuracy in that area.
The
inclusion of ‘90s elements was more natural in some stories and more forced in
others but was successful overall. The nostalgia definitely got me in the feels
a few times. “Madam Crystal” by S.E. Denton (5/5) was a great one to start with
because it set the tone perfectly with light humour and masterfully controlled
tension. It reminded me a bit of Hackers (a favourite of mine as a teen)
and was powerfully evocative of the time.
For me, “The
One With The Mysterious Package” by C.B. Jones (2/5) failed the hardest in this
area. The references felt forced, and the inclusion of modern technology just
didn’t work.
Ironically,
the story that contained probably the fewest references was the one that worked
the best. “Return to Gray Springs: Blockbuster Blues” by P.L. McMillan (5/5)
was timeless, capturing that hollow, smalltown feel that so many of us spent our
youths trying to escape without shoving unnecessary song references down
readers’ throats. It was one of my favourite stories in the book.
My two
least favourite stories in the book were “Alive and Living (Pilot)” by Carson
Winter (2/5) and “The End of the Horror Story” by Patrick Barb (2/5). “Alive
and Living (Pilot)” was presented in script format, which didn’t work for me
and felt a little like space-filler. And, even though I love found-footage in
film, “The End of the Horror Story” made me realize I don’t care for it in
print. It just felt clunky and disjointed.
It’s no
secret that my horror scene lies in hauntings & possessions, so you know “About
a Girl” by J.V. Gachs (5/5) ticked all kinds of boxes for me. It was a
refreshing take, giving us a look at possession from the possessed’s P.O.V. I
loved that horrible feeling of having something wrong inside you, trying
to claw its way out. (I mean… mental illness, amiright?)
I was
almost as excited about “The Final Away Game” by J.W. Donley (4/5) because, OMG
band nerds. Lol. It started out strong, feeling a bit like Jeepers Creepers2 and reminding me of so many long bus rides with my high school
band, but felt like it lost its way a little at the very end. “The Harvest
Queen” by Bridget D. Brave (4/5) kind of went the other way. I wasn’t super
into it when it started, but it finished with a strong The Wicker Man, folk
horror feel and an ending that caught me off guard.
Two of the
stories, “Caution: Choking Hazard” by Mathew Wend (3/5) and “Between the Barbie
and the Deep Blue Ranger” by Christopher O’Halloran (5/5), would probably
appeal more to people who were a bit younger in the ‘90s because their stories
center around killer toys. Although they’re both visceral and nasty and have
similar themes, they’re different enough to each earn their place in a strong
lineup like this one.
A couple
of the stories deal with abuse but approach the topic differently. “Who in the
World is the Hat Man?” by Chelsea Pumpkins (3/5) was heavy and forces you into
the sufferer’s shoes with Second Person Present Tense, which makes the horror
seem more personal and a lot more uncomfortable. I preferred the way “Nona’s
First and Last Album Drop” by Edith Lockwood (5/5) approached the topic, being
all feminine rage, anti-capitalism, and freedom of expression with references
that were On. Point. Definitely a favourite.
Another
favourite was “The Grunge” by Caleb Stephens (5/5), mostly because recently
resurrected rocker, Scott Stark’s, response to being risen from the grave is so
relatable. It was one of the stories I wasn’t expecting to like because –
c’mon, summoning a singer from beyond is a bit extra, even for me (and I’m
hardcore into fanfic) – but I loved it. It’s ironic and casual and
exactly the right feel for a ‘90s kid who’s been through some shit. (And haven’t we all? Lol.)
The only
thing that lets AHH! That’s What I Call Horror down as a collection is
that it started strong but finished weak. The final story, “Threshold” by
Damien B. Raphael (2/5), felt messy and had kind of a blah ending – but
it also had strong descriptions and it was nice to have a story included that was
set in the UK.
Like I
said, I never expected to love every story in AHH! That’s What I Call Horror
because an anthology in which every story appeals to every person is damn
near impossible. But even the stories that didn’t work for me had merit and I
can see how they would work for other people. All in all, AHH! That’s What I
Call Horror is a strong anthology, and I would recommend it to any horror
fan, especially those who, like me, remember the 1990s a little too well to be
comfortable reading it.
Rating: ⭐⭐⭐⭐ (4/5 stars)