The Lake

Campground horror is a subgenre of horror fiction set predominantly in summer camps, remote wilderness retreats, or isolated outdoor settings in which young people experience real or imagined dangers. These stories often combine psychological tension, slasher elements, and sometimes supernatural elements, creating an atmosphere where the natural beauty of the outdoors contrasts with the lurking danger. They share other commonalities in setting and atmosphere, such as isolation from the outside world, the possibility of a predator lurking nearby, and the act of being punished or seeking revenge for some past transgression. The isolation of camp settings enhances feelings of vulnerability and heightens tension, as characters are cut off from typical support systems like police or parents. The genre relies on the nostalgia and familiarity of summer camps, but twists these associations by introducing sinister aspects such as human killers, ghosts, or curses. This contrast makes camp horror especially effective at playing with fears around trust, survival, and the loss of innocence, as well as making it a popular with younger audiences. Notable titles in the genre include classics like Friday the 13th (1980), which set the standard with its iconic masked killer stalking Camp Crystal Lake. Literary works include novels like The Troop by Nick Cutter and The Horror at Camp JellyJam (Goosebumps) by R.L. Stine, which both explore camp-based horror through new perspectives. These stories often explore the dynamics of friendship and trauma, and how these can intertwine or be affected by the presence of fear.

The Lake also fits squarely within the revenge slasher tradition, framing its violence as payback for past harm. Slashers usually revolve around a mysterious, often masked or disguised killer who stalks and murders a group of people, frequently teenagers or young adults, and usually in isolated settings like summer camps, rural towns, or suburban neighborhoods. This formula plays on common fears of vulnerability, isolation, and the illusion of safety in places typically thought of as wholesome. Classic slasher films like A Nightmare on Elm Street (1984) and Scream (1996), as well as novels like I Know What You Did Last Summer by Lois Duncan helped establish the core elements of the genre: a relentless antagonist, suspenseful stalking sequences, and a final survivor who confronts the killer. Revenge slashers add an explicit motive, linking the killer’s actions to an earlier injustice or accident, which raises moral questions alongside terror. More recent examples like The Final Girl Support Group by Grady Hendrix mix elements of slasher and campground horror for a combined horror experience. These stories often mix graphic violence with psychological tension. Preston’s novel adapts these conventions by centering Lillian’s campaign of retribution on a childhood tragedy, tying the killer’s motive to guilt, secrecy, and friendship dynamics. This focus on revenge heightens the stakes and integrates the slasher’s visceral suspense with the psychological fallout of trauma.