As Halloween nears and freakiness is in the air, instead of opting for classics like Mary Shelley’s “Frankenstein” or Bram Stoker’s “Dracula,” readers should reach for Ali Hazelwood’s latest novel and installment of the “Bride” series, “Mate.”

The hairy romance maintains Hazelwood’s classic cringey charm, with corny lines and unrealistically humongous men, making for a great light read. However, readers should be warned that whether it’s due to a lack of scientific elements or the rushed storyline, compared to the author’s other romantic pairings, the coupling in “Mate” barely bubbles with chemistry.

In a magical yet realistic world where Vampyres, Humans and Werewolves barely coexist, “Mate” tells the story of Serena Paris, who is the first public Were-Human hybrid. Her newly publicized heritage makes her an enemy and hero for several groups. Facing death at all turns, she decides to enlist the help of Koen Alexander, Alpha of the Northwest Pack and her alleged mate.

Serena faces several challenges that include but are not limited to: discovering her lineage, chronic illness and an inability to shift into a wolf and cult kidnappings. The reluctant, brooding Koen remains a constant by her side despite his seeming disinterest in her. Eventually, the two start to fall for each other but face adversity when a pack custom forbids them from being together, causing tensions to rise.

Hazelwood exchanges her typical scientific settings for a paranormal one. Although her usage of classic cliches and popularized tropes usually offers the right amount of charming ridiculousness, “Mate” was a more plot-heavy endeavor that attempted to hone in on world building and fantastical politics.

The setting offers extremely interesting conflicts and plot points between the various species and their territories, especially when it comes to portraying multiple perspectives of members and opposers of a cult. Serena faces the pressures of being viewed as, possibly, the sole alliance between the Weres and the Humans, who have long separated themselves in society, forcing her to grapple with her two identities.

However, in her attempt to explain these complex societies, Hazelwood overwhelms the story with too much information.

When Serena is first introduced, she is being hunted by a Vampyre and nearly killed until Koen coincidentally arrives to save the day, a recurring theme throughout the novel. But just when readers start to grasp the Vampyre’s intentions, a different conflict is introduced, and the Vampyres’ bloodlust is completely forgotten.

Additionally, Serena is apparently chronically ill with only a few months to live and attempts to isolate herself from her loved ones. But again, midway through the story, it is revealed that her affliction is harmless after all. The actual main conflict is eventually crammed into the story when members of a supposedly extinct cult kidnap and try to recruit Serena.

If the book had taken the time to better explore each complication, the “Mate” universe could have better developed the foundation of its societies, but ironically enough, the romance between Koen and Serena completely distracts from the surrounding plot and stunts its potential.

The relationship between the two protagonists falls flat compared to pairings in Hazelwood’s other works, such as “The Love Hypothesis” or “Love, Theoretically.”

Koen is made to be the ultimate brooding love interest: extremely masculine with his huge frame — which is repeatedly mentioned — rugged good looks and sassy quips. He rarely smiles but obviously has a soft spot for Serena. As the Alpha of the pack, he is a bloodthirsty but strong leader. He is almost a caricature of a man, and his masculinity is so exaggerated that it’s difficult to take him seriously in any situation.

For example, in one scene, Serena has a panic attack after noticing an unnatural wolf-like change to her appearance in the mirror. Instead of covering her eyes or simply turning her around, Koen does the obvious thing and shatters the mirror. Problem solved.

His dialogue is just as unserious as his actions. When insulting or threatening others, he essentially thinks of any part of the male genitalia and puts it together with random words, then pairs that with middle-school level descriptions of violence.

Additionally, Koen’s devotion and attraction to Serena seem to be singularly rooted in sex. Any differing attention he pays her compared to other characters only stems from the fact that she’s his mate and he’s physically attracted to her. When they do confess their feelings for each other, it’s in the middle of coitus.

Serena frequently tries to prove her status as an independent woman. Yet, she is constantly needing to be saved by Koen and repeatedly mentions how she feels a pull to obey his every command, which plays into the Were dynamics but contradicts the autonomy she fiercely fights to establish.

Despite all of these issues, “Mate” is still an extremely enjoyable read, but only if readers embrace the unseriousness. Hazelwood’s cringiness always makes for a healthy dose of laughter and enjoyment. However, for those unfamiliar with her works, the cringey dialogue and millennial humor may feel like trying to choke down a horse pill.