“Devils That Prey” is an intense horror read from writer David Washburn, who I’ve followed for some time, but this is my first time reading his work. The first thing that leapt off the page for me was Washburn’s distinctive use of a present-tense perspective; the events of the story are related to you in real time, reading almost like a script or stage directions in some respects, which is quite an interesting creative decision and makes the desperation and horror faced by his main characters all the more palpable during the book’s many gory and brutal sequences. The second thing that I noticed and appreciated was the book’s clear homage to backwoods horror classics like “The Texas Chain Saw Massacre” (Hooper, 1974), in particular, with Washburn’s depiction of a fanatical cult of sadists who delight in torturing, tracking, and killing their human quarry. Led by the fanatical Ozzy, Washburn’s bloodthirsty cult are both deeply religious and incredibly resentful of the arrogance of youth; they believe that their God has given the, license to punish youngsters for their lack of respect and their outright insolence, and throw themselves into toying with, brutalising, and sacrificing their prey to their God with an unnerving, self-righteous glee.
Their victims are a group of young, attractive friends looking to enjoy a break from college. Olivia Rose is the level-headed main character, who strives to keep the peace when her jock boyfriend, Nathan, and his equally brazen friend, Kris, mock a passing busload of churchgoers, only to incite the wrath of a cult-like group of killers. They’re joined by Mike, who evolves from the more grounded of the three males to reluctant action hero, of sorts, with both him and Olivia being first disgusted by the blood and death that derails their road trip and then coming to find that killer instinct they need to fight back against their pursuers. This is equally reflected in Nathan and Kris, who are initially confused and ignorant to the threat surrounding them but, after being lured into the cult’s makeshift church and given a head start, they soon find themselves forced to find any means to hide, fight, or escape when Ozzy leads his braying followers – including Jasper, Cliff, and Ozzy’s own unhinged wife, Patty – on a manhunt through the roads, woods, and unsuspecting neighbourhood.
What follows is an intense and escalating battle of survival as Washburn’s protagonists are whittled down, some putting up a better fight than others, attacked and injured and hounded relentlessly even when they find shelter or assistance from neighbours or passing motorists. Nowhere is safe for Olivia and her friends, who must overcome their panic and use whatever means and tools at their disposal to fight for their lives, even if it means infiltrating the cult and taking them out one at a time to interrupt a bizarre, cannibalistic ritual to summon their dark God. “Devils That Prey” maintains an engaging momentum throughout, with Washburn’s antagonists, in particular, showcasing an uncanny amount of personality; they bicker and banter with each other, mock their prey at every opportunity, hide their own insecurities behind a malicious bloodlust, and are deeply devoted to their cause, even killing their own when they’re grievously wounded. Washburn’s use of dialogue and unique presentation aids this, allowing the story to jump between the two groups (and different time periods) to flesh out the narrative. For a lifelong horror aficionado such as myself, “Devils That Prey” was a great love letter to a specific sub-genre of horror, providing just enough fun and gory twists on tried and true tropes to keep me engaged and I’d highly recommend it for anyone who’s a fan of 1970s-era horror films.