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Editorial Reviews
Amazon.com
An evil creature called Tak uses the imagination of an autistic boy to shift a residential street in small-town Ohio into a world so bizarre and brutal that only a child could think it up. It's as two-dimensional and gaudy as a kid's comic book, but for this reviewer, The Regulators is a gripping adventure tale about what happens when a mind fixated on TV (especially old Westerns and a cartoon called MotoKops 2200) runs amok. As Michael Collins writes in Necrofile, "[Stephen] King offers his readers a glimpse of the true evil of popular culture ... which has no design or intent, only an empty need to sustain itself. King is, I think, about the canniest observer of what America is, and that he generally writes horror ought to give us pause from time to time."
From Publishers Weekly
Why revive the Bachman byline more than a decade after Stephen King was found lurking behind it? Not for thematic reasons. This devilishly entertaining yarn of occult mayhem married to mordant social commentary is pure King and resembles little the four nonsupernatural (if science-fictional) pre-Thinner Bachmans. The theme is the horror of TV, played out through the terrors visited upon quiet Poplar Street in the postcard-perfect suburban town of Wentworth, Ohio, when a discorporeal psychic vampire settles inside an autistic boy obsessed with TV westerns and kiddie action shows and brings screen images to demented, lethal life. The long opening scene, in which characters and vehicles from the TV show Motokops 2200 (think Power Rangers) sweep down the street, spewing death by firearm, is a paragon of action-horror. The story rarely flags after that, evoking powerful tension and, at times, emotion. The premise owes a big unacknowledged debt to the classic Twilight Zone episode "It's a Good Life"; echoes of earlier Kings resound often as well?the psychic boy (The Shining), a writer-hero (Misery, The Dark Half), etc. But King makes hay in this story in which anything can happen, and does, including the warping of space-time and the savage deaths of much of his large cast. The narrative itself warps fantastically, from prose set in classic typeface to handwritten journals to drawings to typewritten playscript and so on. So why the Bachman byline? Probably for fear that yet another new King in 1996 in addition to six volumes of The Green Mile and Viking's forthcoming Desperation might glut the market. Maybe, maybe not. But o
An evil creature called Tak uses the imagination of an autistic boy to shift a residential street in small-town Ohio into a world so bizarre and brutal that only a child could think it up. It's as two-dimensional and gaudy as a kid's comic book, but for this reviewer, The Regulators is a gripping adventure tale about what happens when a mind fixated on TV (especially old Westerns and a cartoon called MotoKops 2200) runs amok. As Michael Collins writes in Necrofile, "[Stephen] King offers his readers a glimpse of the true evil of popular culture ... which has no design or intent, only an empty need to sustain itself. King is, I think, about the canniest observer of what America is, and that he generally writes horror ought to give us pause from time to time."
From Publishers Weekly
Why revive the Bachman byline more than a decade after Stephen King was found lurking behind it? Not for thematic reasons. This devilishly entertaining yarn of occult mayhem married to mordant social commentary is pure King and resembles little the four nonsupernatural (if science-fictional) pre-Thinner Bachmans. The theme is the horror of TV, played out through the terrors visited upon quiet Poplar Street in the postcard-perfect suburban town of Wentworth, Ohio, when a discorporeal psychic vampire settles inside an autistic boy obsessed with TV westerns and kiddie action shows and brings screen images to demented, lethal life. The long opening scene, in which characters and vehicles from the TV show Motokops 2200 (think Power Rangers) sweep down the street, spewing death by firearm, is a paragon of action-horror. The story rarely flags after that, evoking powerful tension and, at times, emotion. The premise owes a big unacknowledged debt to the classic Twilight Zone episode "It's a Good Life"; echoes of earlier Kings resound often as well?the psychic boy (The Shining), a writer-hero (Misery, The Dark Half), etc. But King makes hay in this story in which anything can happen, and does, including the warping of space-time and the savage deaths of much of his large cast. The narrative itself warps fantastically, from prose set in classic typeface to handwritten journals to drawings to typewritten playscript and so on. So why the Bachman byline? Probably for fear that yet another new King in 1996 in addition to six volumes of The Green Mile and Viking's forthcoming Desperation might glut the market. Maybe, maybe not. But o