The idea of a viral outbreak isn’t exactly new, but The Flu by Jaqueline Druga is anything but typical. It maintains a level of distinction even beyond the apocalyptic and outbreak thriller genres.
A particularly deadly strain of the flu escapes a facility in Alaska, and by chance and relayed through expertly executed dramatic irony, the virus makes it to Barrow. Then it hitches a ride with a journalist to LA, and well, you know how this goes. Druga spares us an attempt at building suspense through being coy here. We know there’s an outbreak, and she spends only enough time to set it up and make it feel legitimate and authentic without feeling tiring or exhaustive.
Like most sequels, it’s difficult to discuss Craig DiLouie’s The Killing Floor without at least mentioning its predecessor, The Infection. Unlike most sequels, however, DiLouie makes it easy to focus on this work by surpassing the original in almost every way.
The Killing Floor picks up right where The Infection leaves us, bringing back all of the characters who survive the first story, even one special character whom we think is doomed when we leave The Infection, and introducing many new characters. Like Infection, itself, DiLouie allows his zombie mythology to evolve and adapt, and therein he finds the central plot of The Killing Floor. It threatens to become hackneyed, but DiLouie jumps in with both feet and develops it enough so that it feels legitimate, natural, and unique.