Although the promotional copy for Dead Silence advertises S.A. Barnes's story as "Titanic meets The Shining," it feels more like a severely watered-down derivative of Aliens and Event Horizon with an unwanted dash of romance tacked on for good measure.
While repairing a communication satellites in deep space, Claire Kovalik picks up a distress signal from the lost luxury cruise ship, the Aurora. Immediately sensing fame and fortune over such a discovery, they chart a course to make their salvage and find way more than they expected. The Aurora, it turns out, is a literal ghost ship and the vacuum-frozen corpses floating throughout the Titanic-inspired vessel show signs of extreme violence. For the ghosts aboard, as well as for the readers, Claire's team represents fresh victims. Yay!
Told in alternating "Then" and "Now" chapters, Barnes builds up an ominous background for Ripley's, I mean, Claire's ordeal aboard the Aurora as she's interrogated by a pair of company-men from Weyland-Yutani Verux, the corporation that owns the lost ship and wants it back. To be fair, Claire really isn't all that comparable to Ripley, as she lacks the latter's brains, brawn, and is hardly as compelling a heroine. Claire, you see, has amnesia and doesn't recall how she escaped from the haunted vessel or how all of her crew died. But she is certain she can't let this greedy, evil corporation get their hands on it!
Barnes does have some neat ideas and scenes over the course of Dead Silence, even if they don't all play out to their fullest potential and the ending we're provided with is inexplicably, unsatisfyingly mundane (and, to its further detriment, largely unexplored). When we first meet Claire in the opening "Now" chapter, we get the impression she's an unreliable narrator thanks to the combination of psychiatric drugs being pumped into her and the hallucinations of her dead crew coming and going and drilling holes in their ghostly noggins. It's fun stuff, but Barnes forgoes giving her central character, or the story Claire relates to us and Verux's investigators, any sort of ambiguity. For a book that is ostensibly about madness, insanity, and psychosis, it's sadly straight-forward, which makes the head-games rather unfulfilling and ultimately as passive as can be.
Better was Barnes's depiction of Claire as a trauma survivor with a decidedly suicidal bent, as well as the commentary on corporate greed via Verux. But, again, this latter point isn't really a fresh or compelling take on bad businesses compared to the Alien flicks that clearly inspired it, and which Barnes liberally borrows from at regular turns throughout the story's plot. About the only element she hasn't taken from those movies is Jones the cat, who is sadly missing here. Well, Jones and the xenomorphs, since Barnes is cobbling Event Horizon's ghost ship conceit atop Ripley's story to make it her own.
Sadly, Dead Silence failed to live up to the expectations generated by Tor Nightfire's marketing team, thanks to its lack of originality and any genuine scares, its Scooby-Doo finale, sluggish pacing, and a heavy focus on Claire and Kane's will-they-or-won't-they romance. And, why yes, Kane was a character in the first Alien movie! This book also violates my general rule of thumb for stories that rip off are "inspired by" other better known properties to either be smarter or more entertaining (if not both!) than the material they're cribbing from. Ultimately, you can skip Dead Silence and watch Aliens and Event Horizon instead. Those movies are much better than this book, and you can thank me later.