Breakneck, topical serial killer thriller that entertains despite a simplistic plot.
For a bog-standard serial killer thriller, Max Manning’s debut is a thoroughly entertaining yarn and has an awful lot to recommend it despite much of what occurs feeling rather far-fetched. Low on authentic police procedures, high on readability, there is not a great deal of substance or depth to Now You See but for a high-energy blast of serial killer action it certainly satisfies. An undemanding plot and some smart twists together with short, sharp chapters often of no more than a few pages keep the tempo up throughout. Narrated from multiple points of view, including a sadistic perpetrator with a galling sense of their superiority, the result is also a compelling look at the effects of social media and the criminal mind.
Max Manning grabs the readers attention from the off, as lead investigator DCI Dan Fenton watches appalled as a murder is showcased online with a ‘Before Death’ and ‘After Death’ photograph posted under the username I, Killer. As the police launch into a frenzied search for a body, DCI Fenton and his team of DS Marie Daly and eager recent recruit, DC Ralph Ince, attempt to play catch-up all whilst the images go viral. As all police attempts to trace the origin of the cyber source are stymied and the media circus goes into overdrive proclaiming police incompetence, the pressure on New Scotland Yard escalates.
When the body is eventually recovered, buried deep in the undergrowth of Victoria Park, the victim is identified as twenty-seven-year-old nurse, Lauren Bishop. With no forensic evidence, no sign of defensive wounds and with no obvious enemies, attention turns to Lauren’s significantly. older ex-boyfriend and PTSD sufferer, Adam Blake, who she ended her relationship of nearly a year just six weeks previously. Testy, disconcerting in manner and with his own horrific experiences on the front line that would seem to make him a prime candidate for committing such a disturbed act of violence all eyes soon train on Blake. But with I, Killer starting to get a taste for public adulation his sadistic killing spree soon gets far worse as he plans to make things very personal, coming straight for the man leading the inquiry, DCI Fenton. As a single parent, Fenton has responsibilities to his family and not simply a duty to apprehend a psychopath...
Thirty-four-year-old DCI Dan Fenton with fifteen years local service in the MET is a fairly uninspired creation who is grieving for a wife who lost her fight with cancer eighteen-months ago and left him a single parent to eleven-year-old daughter, Tess. Characterisation of Dan Fenton, as for the entire supporting cast, is limited and as the lead detective fronting up a series he has too many similarities to DC Max Wolfe of the Tony Parsons novels to feel wholly original. As a protagonist Fenton goes rather too unexplored to ever warrant serious investment in, meaning he never emerges from beyond the page. Dedicated, driven and savvy, when his notoriety sees him sidelined by Scotland Yard, Lauren Bishop’s twin sister brokers an unofficial partnership with former investigative journalist, Adam Blake, and despite their mutual suspicion of each other, the pair begrudgingly collaborate. Blake offers more depth of character and his experiences as a hostage survivor in Syria where he bore witness to a brutal execution, along with his personal link as ex-boyfriend to the first victim, are surefire motivating factors.
Despite the author reprising the familiar profile of a narcissistic and manipulative serial killer who is able to imitate normal behaviours and driven on by public recognition, validation and media interest the novel also makes some relevant and chilling insights into the world of social media and how the general public use such outlets to explore the darker sides of their psyches from behind the safety of a terminal. Manning offers some very accessible insights via consultant police psychologist, Belinda Vale, into serial killers and how the world of social media can stroke the ego and multiply the interest around such macabre murders. Similarly the character of Belinda Vale also highlights the wider links between social media and moral decay which certainly has aspects of truth.
Admittedly fairly unrealistic with a cast (and therefore a suspect list) of a handful, Manning’s attempts at misdirection are naive. When the final revelation came I was fairly unimpressed and felt that the novel needed a few more clues for the story to classify as ‘playing fair’ with its readers. Simplistic yet lively, Now You See is the perfect fix of frenetic crime fare to sit back and relax with, necessitating minimal use of brainpower and easily satisfying. Whilst the place of social media in crime thrillers has vastly increased given its now ubiquitous role in the today’s society, I was impressed that Now You See added a touch of individuality to a popular theme with the ‘Before Death’ and ‘After Death’ photos and posts.
I would certainly read more of Max Manning’s work with the hope that future outings will craft DCI Dan Fenton into a more three-dimensional protagonist and would not be adverse to seeing Adam Blake featured again. For an introduction into the basic behaviour patterns of serial killers and for some disquieting glimpses into a depraved mind (“Guilt is a concept I’ve never understood. It gets in the way of true creativity, stops you doing things you want to do..”), Now You See serves as an excellent primer.