Holly Jackson’s As Good As Dead marks the explosive conclusion to her beloved A Good Girl’s Guide to Murder trilogy, and it’s a ride that will leave readers both exhilarated and unsettled. After following Pip Fitz-Amobi through her amateur detective work in A Good Girl’s Guide to Murder (2019) and Good Girl, Bad Blood (2020), Jackson delivers a finale that pushes her protagonist into genuinely dark territory—perhaps darker than some readers were prepared for.
The series, which also includes the novella Kill Joy (2021), has established Jackson as a formidable voice in young adult mystery thriller fiction. But this final installment represents both the series’ greatest strength and its most controversial element: watching a character we’ve grown to love slowly unravel under the weight of her past investigations.
A Descent into Darkness
As Good As Dead opens with Pip preparing for university while being haunted by anonymous threats that escalate from disturbing to genuinely terrifying. Someone is following her, leaving dead pigeons and chalk figures outside her home, and sending messages that ask a chilling question: “Who will look for you when you’re the one who disappears?” This isn’t the confident, truth-seeking Pip we met in the first book. Jackson has crafted a protagonist dealing with PTSD, pill addiction, and the very real consequences of her previous investigations.
The genius of Jackson’s approach lies in how she doesn’t shy away from showing the psychological toll of Pip’s amateur detective work. This isn’t a cozy mystery where the sleuth emerges unscathed from each case. Pip is broken, isolated from her family through her own choice, and spiraling into dangerous territory. Jackson’s writing captures this descent with remarkable authenticity, particularly in scenes where Pip interacts with her family, knowing she plans to leave them forever.
The pacing in the first half of the book is deliberately unsettling, mirroring Pip’s mental state. Jackson employs shorter, more fragmented chapters and internal monologue that feels genuinely disturbed. The chalk figures and dead pigeons create an atmosphere of mounting dread that recalls the best psychological thrillers, while the investigation into whether the wrong man was imprisoned for the DT Killer murders provides the procedural backbone that fans expect.
The DT Killer Investigation
Jackson’s handling of the central mystery—whether Billy Karras was wrongly convicted for the DT Killer murders—showcases her research skills and understanding of criminal psychology. The connection between Pip’s stalker and the historical serial killer case is cleverly constructed, with enough red herrings and false leads to keep readers guessing. The revelation that Jason Bell, Andie’s father, was actually the DT Killer provides a satisfying full-circle moment that ties all three books together thematically.
However, the investigation feels somewhat rushed compared to the meticulous pacing of the previous books. Where the first novel spent considerable time on evidence gathering and logical deduction, much of the detective work here happens off-page or is presented through Pip’s increasingly unreliable perspective. The podcast format returns, but it feels more like a narrative device than the integral storytelling element it was in earlier installments.
Controversial Character Choices
The most divisive aspect of As Good As Dead is undoubtedly Pip’s transformation from amateur detective to someone capable of murder. When Jason Bell, now revealed as both the DT Killer and Pip’s stalker, threatens her family, Pip kills him in what could be considered self-defense. But Jackson doesn’t stop there. In an elaborate scheme involving her boyfriend Ravi, Pip frames Max Hastings—the rapist who escaped justice in the previous book—for Jason’s murder.
This moral complexity is both the book’s greatest strength and its most problematic element. Jackson forces readers to confront uncomfortable questions about justice, revenge, and the consequences of a system that fails victims. Pip’s actions are simultaneously understandable and horrifying, making her a genuinely complex antihero rather than the plucky teen detective she started as.
Some readers will appreciate this unflinching examination of trauma and its effects. Others will feel betrayed by the transformation of a beloved character into someone who commits premeditated murder. Jackson’s writing doesn’t offer easy answers or moral absolution, which is admirable even if it’s not always satisfying.
Technical Craft and Style Evolution
Jackson’s prose has evolved significantly throughout the series, and As Good As Dead represents her most ambitious writing yet. The psychological depth she brings to Pip’s mental state is genuinely impressive, particularly in scenes where reality and nightmare blur together. Her use of fragmented narrative structure and unreliable narration effectively conveys Pip’s deteriorating mental health without becoming gimmicky.
The dialogue remains sharp and authentic, though some supporting characters feel underdeveloped compared to earlier books. Ravi’s role as accomplice rather than moral compass represents a significant shift in their relationship dynamic, and while it serves the plot, it diminishes some of the charm of their partnership.
Jackson’s research into criminal psychology and police procedure continues to impress, though the actual investigation takes a backseat to character development in this installment. The technical aspects of framing someone for murder are handled with surprising detail and authenticity, suggesting considerable research into forensic evidence and police methodology.
Series Context and Comparative Analysis
Within the broader context of the trilogy, As Good As Dead serves as a logical, if extreme, conclusion to Pip’s character arc. The progression from curious student to traumatized vigilante feels earned, even if it’s not the direction all readers wanted. Jackson has created something rare in young adult fiction: a series that genuinely grapples with the psychological consequences of its premise.
Compared to other YA mystery series like Maureen Johnson’s Truly Devious trilogy or Karen M. McManus’s One of Us Is Lying series, Jackson’s work stands out for its willingness to push into genuinely dark territory. While those series maintain a more traditional approach to teenage amateur detectives, Jackson’s trilogy evolves into something closer to psychological thriller territory.
Strengths and Weaknesses
The book’s greatest strength lies in its unflinching examination of trauma and its effects. Jackson doesn’t provide easy answers or comfortable resolutions, forcing readers to grapple with complex moral questions. Pip’s descent into darkness is written with psychological authenticity that elevates the material above typical young adult fare.
However, this same commitment to darkness may alienate readers who fell in love with the more traditional mystery elements of the earlier books. The pacing feels uneven, with the actual investigation taking a backseat to character psychology. Some plot conveniences—particularly around the elaborate frame-up—strain credibility despite Jackson’s careful plotting.
The ending, while thematically appropriate, may leave some readers feeling unsatisfied. Pip’s exile from her family and friends feels both necessary and tragic, but it’s not the triumphant conclusion many series fans might have expected.
Final Verdict
As Good As Dead is simultaneously the trilogy’s most ambitious and most problematic installment. Jackson has created a genuinely challenging work that refuses to provide easy answers about justice, trauma, and revenge. For readers willing to follow Pip into genuinely dark territory, it’s a rewarding and thought-provoking conclusion. For those expecting a more traditional resolution, it may feel like a betrayal of the character and series they’ve grown to love.
The book succeeds as a psychological thriller and as an examination of trauma’s long-term effects. It’s less successful as the conclusion to a beloved YA mystery series, though that may be precisely the point. Jackson seems more interested in exploring the realistic consequences of her premise than in providing comfortable closure.
For readers who appreciate complex moral questions and psychological depth in their fiction, As Good As Dead represents a significant achievement. For those seeking the comfort and satisfaction of traditional mystery resolution, it may prove frustrating. Either way, it’s impossible to ignore the ambition and skill Jackson brings to this challenging finale.
Recommendations for Similar Reads
Readers who appreciated the psychological complexity of As Good As Dead might enjoy:
- Sadie by Courtney Summers – A dark exploration of trauma and revenge
- The Female of the Species by Mindy McGinnis – Examines violence and justice from a female perspective
- Monday’s Not Coming by Tiffany D. Jackson – Psychological thriller with social justice themes
- Truly Devious series by Maureen Johnson – For those preferring traditional amateur detective work
- One of Us Is Lying series by Karen M. McManus – Contemporary mysteries with ensemble casts
- Sharp Objects by Gillian Flynn – For readers ready to graduate to adult psychological thrillers
- In the Woods by Tana French – Literary crime fiction with psychological depth
As Good As Dead may not provide the ending every reader wanted, but it delivers the ending the story demanded. Jackson has crafted a conclusion that’s true to her characters and themes, even if it’s uncomfortable. In a genre often criticized for its lack of real consequences, that’s both brave and necessary.