On the run from the FBI.
Targeted by a murderous cult.
Labeled a cyber-terrorist by the media.
Irritated texts from his best friend.
Eye contact with a nice-looking guy on the train.
Aidan has a lot to deal with, and he’s not quite sure which takes top priority.
Finding himself alone in a posh New York City hotel room for the night, Aidan does what any red-blooded seventeen-year-old would do—he tries to hook up with someone new. But that lapse in judgement leads to him waking up next to a dead guy, which sparks an epic case of mistaken identity that puts Aidan on the run from everyone—faceless federal agents, his eccentric family, and, naturally, a cyber-terrorist group who will stop at nothing to find him.
He soon realizes the only way to stop the chase is to deliver the object everyone wants, before he gets caught or killed. But for Aidan, the hardest part is knowing who he can trust not to betray him—including himself.
Listent to me here . . .
Please go into this review with a warning. Since I did not fully complete this novel (oh, though I sure tried, since I wanted to give it that genuine 1-star it so deserves), I do not know what happens past page 145 out 436 ARC pages.
But, I finished almost 1/3 of it, so . . . take with that what you will.
. . .
When I think of a well structured book on a highly political topic, or really, any book for that matter, I like to think of it as a cake.
You have your topping <—- basic premise of the book, i.e. genre, basic goal, etc. Essentially what you would tell people if someone was like, “Hey! What’s that book you’re reading about?”
You have your cake <—- this is essentially the entirety of the story arc, laid out, step by step
You have your frosting layers <—- these layers are by far the hardest part of a story to develop, yet are also the most important. They have to be subtle. They are the deeper meaning of your story (whether that be equal rights or any other controversial issue). I like to think of this as the moral of the story.
If your frosting layers are too thick, your teeth are going to hurt and you’re going to be like yup that’s frosting!
Well, what we have with Swipe Right for Murder is absolutely only frosting. Essentially, a huge chunk of frosting. Plopped on a plate. With a spoon to eat it with. (That’s maybe something?) Oh, but the spoon breaks and you can’t even taste the frosting. Sorry, no frosting for you 😦
Anyway, anyway . . .
When I started this book, I was met with the main character, as usual in a book. I was met with the secondary characters, also the norm.
And all of them are pretentious and represent some sort of minority or stereotype? Miraculously?
For instance . . .
Aidan is white. He is also gay. Also, within the first twelve pages he mentions how all of his friends are attractive. Also that he’s gay. Oh, did you know that Aidan is gay? Because, if you didn’t, Aidan is gay, and you should definitely know that.
(Pssst, Aidan is gay.)
His friend, Jackson, is black. Superstar looking, yet makes sure to put Aidan in his place by telling him having to deal with being gay is nothing compared to being black in America because invalidating your best-friend’s feelings is a thing, now.
We have Aidan’s parents. Who are probably homophobic . . . yet they accept Aidan. Yet, they think being gay is unnatural.
OHHHH and we have murdous terroist group that seems to be killing politicians who have voted against LGBT rights in terrosits attacks in unrealistic scenarios (such as controlling a pacemaker, IV and car brakes remotely).
Essentially, there was zero character development in the 145 pages accept maybe Aidian is okay with all of the killing? I don’t know.
I’m in the minority here when I say that this book is toxic, as it has a 4.5 star rating on Goodreads right now. When I say toxic, I’m saying a political agenda seems to be shoved down some kids throats here. In other words, if it’s looking to change someone’s mind about something, I feel, at the ARC’s stage, it would blatantly fail, as anyone who has any sort of anything against left-wingers would immediately catch on to what’s happening within the first twenty pages and put it down anyway.
I wish I could also quote some of the dialogue here directly, because it is also pretty toxic. For instance, the second Jackson complains about being black in America he suddenly developed a dialect and starts using the word ain’t? Does anyone else not see a problem with this?
Like I said, maybe I’m in the few here, but please, please, if you have any sense for what should be considered good, left wing writing, do not pick this up.
What makes you DNF a book? Let’s chat in the comments!