Chopping Spree is the debut novella of Angela Sylvaine and the 27th entry in Unnerving Press’ Rewind or Die series. The novella is about Penny, a young teenager who works in a fashionable, 80s inspired mall in Eden Hills, Minnesota. After working her shift at a clothing store, she and her coworkers stay late in order to have a party. They soon become menaced by a wolf-masked murderer who chases them through the mall. The tables turn when Penny’s coworkers capture the wolf man and take him to a secret room in the mall in order to sacrifice him to the Greek god Plutus, who will in turn guarantee wealth to his followers. It is a night of terror as Penny has to not only survive a murderer, but cultists that count her own family in their ranks.
Sylvaine’s Chopping Spree is an ambitious novella that, much like a mall proper, offers up a variety goods for readers (consumers) in the form of genre blending. Overtly Chopping Spree is a horror novella, but it is a combination of two distinct forms of horror: the 80s slasher (such as Halloween and Final Exam) along with the occult/secret society genre (such as Rosemary’s Baby, but perhaps more appropriately, The Wicker Man). In addition, the novella dips a toe in the neo-peplum genre while at the same time, by virtue of its faux 80s mall setting, flirts with the 80s retrowave genre style without going full synthwave/outrun. These genre juxtapositions merit a closer look.
Firstly, and Chopping Spree’s strongest aspect, is its combining of the slasher/secret society genres. The first three chapters (first half) of the novella recreates the feel of being trapped in an 80s mall while being pursued by a masked killer. Penny, of course, is the virginal final girl, seeking acceptance from her friends and fawning over a coworker named Dirk. After vomiting from drinking whisky, Penny soon discovers a murdered pretzel store employee, which leads to the wolf man giving chase to the teens.
At this point in the story, Chopping Spree could run with the genre formula, have the teens get picked off one by one by the wolf man, with Penny performing some final girl trickery at the end to best the villain and escape the confines of the mall. Instead, it turns out that Penny’s friends/coworkers are all part of a secret cult that worships the Greek god Plutus. They take out their ceremonial daggers and more-or-less become slasher villains themselves. They apprehend the wolf man and take him to a secret chamber in the mall to sacrifice him. Chopping Spree has now left slasher territory and entered the niche horror subgenre that deals with secret societies and the occult. It is in this genre that folks sell their souls for power and prosperity. Rosemary’s Baby is a fine example of this type of genre, with Rosemary’s husband making a deal with the devil. However, Chopping Spree is much more akin to the classic The Wicker Man. Both Chopping Spreeand The Wicker Man feature communities that are down on their luck and turn to sacrifice to bring in prosperity: the cult of Plutus needs to sacrifice people to guarantee the mall’s prosperity while Lord Summerisle needs a sacrifice to guarantee a bountiful crop for the island. The fact that The Wicker Man contains diegetic folk singing while Chopping Spree peppersclassic 80s synthpop and new wave songs in its narrative further strengthens the connection making them both musicals.
What makes this genre turn so unique is the subject of the sacrifice: in these stories it is usually the protagonist (or final girl) that is to be the offered sacrifice. Chopping Spree turns this on its head by instead offering its slasher villain as the sacrifice.
With its mall setting, Chopping Spree joins the ranks of films such as Chopping Mall and Dawn of the Dead that offerscritiques on consumerism and capitalism, though Chopping Spree is a bit heavy handed at times. Employee bathrooms in the mall have motivational John Locke quotes scribbled on the walls, while characters robotically recite pro-capitalist verses. These moments are not so subtle and perhaps a bit handholdy, however there are other brilliant elements of the story that accomplish the critique in a much more creative and subtle fashion, specifically via Howard the wolf-masked slasher villain.
Howard’s donning of the wolf mask as his villain MO is multifaceted. At a base level, it is leveraging the 80s slasher trope of the masked killer (Leatherface, Michael Myers, Jason Voorhees, and so on), which of course, is appreciated by genre connoisseurs. Intentionally or not, there is also a Scooby Doo vibe with his character, manifested when his mask is removed (by meddling kids no less) to reveal “old man Howard.” As Howard pursues Penny and entourage he makes various references to “The Three Little Pigs” and “This Little Piggy,” which seems fitting for a wolf character, but it is when he is juxtaposed against another horror character that new meaning (specifically a critique on capitalism and consumerism) is taken on. In the film Motel Hell (another 80s cult horror film), the character of Vincent Smith is an aged farmer and butcher who also runs an inn. As with the cultists in Chopping Spree, Smith is an unabashed capitalist, and his ace in the hole to keep his business ventures afloat are to capture other people, plant them in his farm, and then butcherthem to create smoked meats. At the film’s climax, Smith gets into a chainsaw duel and dons a pig’s head as a mask. Smith’s pig facade and what it stands for (protecting business ventures built on murder [the very same as the cultists in Chopping Spree]) becomes a visual counterpoint to Howard’s wolf facade, aimed at tearing down those ventures. Chopping Spree is the ying to Motel Hells’ yang.
Leaving the horror genre, Chopping Spree flirts with the neo-peplum genre by way of having the cultists worship Plutus. Genre expectations would have normally lead to the cultists engaging in devil worship, but having them revere a Greek deity is a welcomed surprise (though the story sometimes conflates Greek with Roman, but this can be attributed to Penny’s educated guesses). Visually, the sword and sandal elements are presented in the story via Grecian decorations displayed on the hidden chamber’s entryway (“Dirk pushed open the wooden doors, which were carved with figures of ancient [R]omans in togas”) and stamped coins (“gold coins that looked ancient, their surfaces carved with the head of a Roman god”). Mythologically, however, Chopping Spree is brilliant by making the cultists revere Plutus. Firstly, the cultists thirst for money and power don’t make them ordinary run-of-the-mill capitalists, but full on plutocrats. Secondly, by having them in a secret cult, echoes Plutus’ own mother (Demeter or Persephone) who also have a secret cult as referenced in the Eleusinian Mysteries.
There is some subtle trickery here by having the cultists worship Plutus: at no point in Chopping Spree does anything magical happen. While films such as Rosemary’s Baby and The Omen depict supernatural and occult ongoings, Chopping Spree stays firmly in Wicker Man territory in that no overt divine intervention or miracles overtly occur. This begs the question: is Plutus actually granting favour? Depending on the answer radically changes the subtext of Chopping Spree.
Overtly, Chopping Spree shows the ends of the process: it is a contemporary setting book, with a hugely successful mall, which in reality, is hard to fathom as the mall has been a dying concept. Yet, here it is, alive, well, and extremely successful in Chopping Spree. For this end to happen, only one of two scenarios can be true:
A: The mall is successful because capitalism and the invisible hand of the market has actually granted it success. Despite all odds, this mall in Eden Prairie flourishes because of consumer want. If this is the case, that means (much like in TheWicker Man, where the destitute crop harvest is attributed to poor volcanic soil), that Plutus does not exist and therefore is not granting favours, and the cultists are simply murderers.
B: The mall is successful because of the (unseen) intervention of Plutus. This means that the cultists spewing of capitalist slogans and Locke quotes is hypocritical. The laws of capitalism have spoken and have determined that the cultists/their mall should fail, so the cultists must turn to corrupt/criminal/occult activities in order to survive. They are capitalists only when it benefits them. As soon as it does not, capitalism is just veneer they overtly tell the world while inside they are hypocrites and murderers. Which, perhaps on the path of creating a plutocracy, is expected.
Finally, Chopping Spree engages with the synthwave genre, albeit in a slightly different manner than genre expectations. Post Stranger Things, Drive, and Grand Theft Auto: Vice City, 80s retroism is big. Today, there are many stories that are set in the 80s and embrace the visual hallmarks of the genre: VHS tracking artifacts, VHS rental box recreations, neon pink and purple vector gridlines, the broken sun, palm trees, and so on. Chopping Spree eschews these genre tropes: it is retroism without being retro. The story is contemporary and not a period piece, yet it has 80s call backs that readers enjoy seeing in their retro texts, specifically the slasher and mall aspects coupled with the novella’s various name droppings of various 80s synthpop and new wave hits (such as Duran Duran’s “Hungry Like the Wolf” and Echo and the Bunnymen’s “The Killing Moon”). The 80s mall initially feels out of place in the story: why have an 80s throwback mall in the present day? Firstly, it is the 80s mall that helps ground the story in retroism, but secondly, and surprisingly, the 80s mall couples extremely well with the neo-peplum genre. If one is going to venerate Plutus, what better way to do so than with a mall, which of course, is a modern interpretation of the Agora. As to why specifically an 80s mall? The 80s (and early pre-internet 90s) was when the mall was at the zenith of its cultural dominance, and as the people of antiquity erected statues and created art to celebrate their deities and empires at their height, so too do the Plutus cultists seek to celebrate the mall at its peak.
Chopping Spree does not just feature a mall, it also acts as a literary mall of genres. Just as one can enter a mall and walk by different offerings: the sports store, the clothing store, the pretzel restaurant, and the bookstore, one reads through the pages of Chopping Spree and are treated to various horror subgenres, and differing genres in the form of pepla and retroism. The novella is successful in this regard, successfully blending genres while at the same time both embracing and subverting genre expectations to create a fun and frightening experience.
2024-04-21 – Addendum
The Unnerving Press edition of Chopping Spree is out of print. However, a new, updated editing with a brand new cover is being published by Dark Matter Ink on September 24th. The new cover art, by Dan Fris, looks like this:
The updated version of Chopping Spree can be pre-ordered at the Dark Matter Ink website.
