I haven't read a Goosebumps book since 1997, when the last in the original series was published. That was an entry in the Monster Blood saga as well, so Monster Blood Is Back feels like a homecoming in more than one way.
To be honest, I only picked this up as my ticket to live-stream an author's chat between R.L. Stine and Victoria Schwab (whose latest book I also bought). The chat was fun. (Stine admitted that most of the autobiographical details he relates in interviews are lies.) The book, surprisingly, is also fun. I say "surprisingly" because my memory of the series is all cheese and facepalming. I remember feeling like I was outgrowing the books even as I continued to read them. But maybe that's an unfair assessment, informed more by the TV show of low production values and stale child acting. The harmless fun of a Goosebumps story in print came back to me as I read Monster Blood Is Back over the course of an hour and change. '90s kids like myself, returning to the vaguely bland yet menacing suburbia that encompassed our childhood imaginations, will find the world very much as they left it.
The updates are more or less cosmetic--the characters have iPhones, the pop culture allusions are contemporary (and perhaps unintentional: the main characters attend Adam Driver Middle School, though whether that's a conscious reference to indie-darling-Kylo-Ren is unclear), and much of the action is motivated by a reality competition show that's more or less a proxy for Master Chef Junior. From reading the teaser on the back I thought the reality-television angle might be obnoxious and pandering, but it's actually integrated into the plot pretty well, a fun modern milieu for familiar antics. It reminded me a bit of the X-Files meta-episode in which Mulder and Scully find themselves in the cross-hairs of the camera crew from Cops.
Psychologically, though, it's still 1992 GB as far as the characters are concerned. Twelve-year-olds still scream out loud at things as non-threatening as a plastic skull mask; bullies and siblings still exist only to torment the protagonists; adults still refuse to believe children even in the face of hard evidence. Ah, it's good to be home. Respectably, however, there are few if any fake-out cliffhangers, and the narrative flows smoothly and energetically with no major cheats or aggravating cop-outs. Despite a few lapses in reason, narrator Sascha and best friend Nicole are likeable, if nondescript.
I also enjoyed the framing device of Slappy's commentary. Any time he's given half a chance, Stine talks about the influence of EC Comics on his work, so it makes sense that he would find a Cryptkeeper analogue of his own (a role he himself fulfilled occasionally in the television adaptations). I think this may be the best use of Slappy to date, since I remember getting tired of the "dummy comes to life but nobody believes it" formula inherent in the Night of the Living Dummy entries.
My only major complaint is the out-and-out ridiculousness of the pre-teen antagonists, Nathan and Ashli, described by Sascha as "the two biggest cheaters on earth". The gruesome twosome manage to repeatedly sabotage Sascha and Nicole's culinary attempts in ways that would be incredibly transparent on a small shooting set such as you see on actual cooking competition shows. I really don't think anyone would be able to spike a dish with a full bottle of hot sauce without a single person among the contestants, the host, the judges, the camera crew, the producers, or the assistants noticing. Fortunately, by the time the Monster Blood takes control of the story as we all know it must, those two are relegated to irrelevancy.
My other, minor, only-half-serious demerit comes from the lack of cameos by original Monster Blood survivors Evan and Andy. It would have been neat to see them show up as adults and issue warnings that our plucky protagonists would, in due course, ignore. Then the nostalgia trip would have been complete.