This was a wonderful story with an ending that didn’t quite bring it home. Without going into too much detail, the “what really happened” ending felt overly complex for the sake of being complex, rather than to enhance the story. Twists are a great tool for short stories, but audio seems to hardest medium to tell this kind of story. It can be done well, as in Alone in the Night.
The ending aside, this story hooks you right from the beginning. If you’re a writer, then hearing the protagonist struggle with trying not to rehash the same old stories will hit a cord deep inside and give you immediate rooting interest. Even if you’re not a romance author, like Ms. Applegate in the story, the problems she’s going through are ones which ring true for all fiction writers. If you aren’t a writer, it still gives an interesting insight into the thought process of the average writer.
That alone is worth the price of admission: time.
Habitat from Earbud Theater provides both entertainment and acts very much like a thought experiment. The idea behind the story is definitely a “what if” kind of experiment. What if a human was forced to live in an artificially created habitat?
The protagonist of this tale is an astronaut whose ship crashes somewhere out in the vacuum of space. She is rescued by a group of “super brains” who decide to study her in an artificial habitat and give her anything she needs to be comfortable. The problem lies in the difference between want and need as the protagonist goes back and forth on what needs to be happy. Everything from a life in isolation to materialism is addressed in one form or another.
The story does get a bit tedious near the middle. Some try/fail cycles could’ve been cut or shortened to allow a shorter, punchier running time. That said, this story is great for fans of science fiction. While the diehard fans will probably find the author’s use of a classic sci-fi trope to be unoriginal, the execution was brilliant.
Perhaps the best thing about this story is the ending. Right when you think it’s over, the story continues until it reaches a climax that is both powerful and inevitable. The cast does a fabulous job in bringing their dialogue to life, especially in the final moments of the story.
The first episode of this award winning audio drama from the Wireless Theater Company takes an urban legend and twists it into a wonderfully horrific adventure with a bit of an issue with tone. The story is a bit schizophrenic, unsure of what it wants to be. The opening scene and the final one are practically from two different stories in terms of their style and subject matter.
There’s a certain “Neverwhere” vibe coming from the production value as well as the story. The villains act very much like Mr. Croup and Vandemar from the audio adaption of Neil Gaiman’s story about the setting underneath London.
Episode two has a much better time of getting the listener hooked. The amount of twists and turns is just right and by no means convoluted. Where the first episode fails, the second episode uses those traits to springboard off of and takes you by the horns for a wild and fun thirty minutes.
The third episode, like episode one, was hard to find rooting interest in anything. While it shares similarities with Neverwhere: Victorian England and the “Mr. Croup and Vandemar” plot device, the final episode of the series one of this show lacks the power of increasing tension and twists found in episode two.
This may be a case of the ending leaving a bad taste in the mouth. It’s an excellent story idea. The acting and sound effects are great, so it’s not the execution of the idea that’s the problem. Another listen is merited, because I feel I must’ve missed something. But for now I give my rating.
This show bridges the gap between audio drama and visual entertainment. Plus it’s a fan adaptation of the anime “Attack on Titan.”
This show is posted on a youtube channel. What’s different is that the creators don’t use one image for the entire episode like a lot of people. There’s nothing wrong with that of course, YouTube is another social media outlet for audio drama creators to stretch their wings over.
This series, however, takes the still image idea to the next level. It’s sort of an audio drama slideshow with the script appearing on screen as the actors and actresses say their lines. It’s almost like a passive video game on a gameboy or other handheld device.
People on YouTube are loving the series and the creators are close to finishing, if not done with, the second season. Fans have even sent in reaction videos. The first five episodes area bit sluggish, but the coolness factor of this audio drama/slideshow hybrid is amazing at the amount of thought and care that has been put into the production blows my mind. The visuals can be distracting sometimes, because I’m often looking at the screen for the next bit of dialogue. The story is off to a slow start, but the hybrid-A/V nature of this show is what made me stick around.
After episode 6, the story picks up and takes a semi-darker twist. There are also a lot of characters to get to know. Some of them feel like one-offs who we will never hear again appear again. The depth of these characters is non-existant to some extant. Even Eren—the supposed lead character— barely gets any “screen” time. Season 1 is very much an ensemble cast story. No one character is leading the show. The problem isn’t with the concept (there have been plenty great stories with an ensemble cast), but with the execution. Each scene is from a different character or group of character’s point of view and there’s barely enough time to get to know them as it changes. Again, the listener hardly hears Eren and the only thing we know about him is that his mother was killed in a titan attack and his sister is Mikasa. Other than that, we don’t know he normally acts.This may be a problem with the source material this is adapting from—but Jean, Commander Levi and Sasha are the most interesting characters. The rest didn’t have much life beyond the plot.
Near the end of the first season, when something bad happened to Levi, there was a sense of unfairness towards the commander. The last three episodes turned up the tension notch all the way to eleven and more than made up for the slow beginning.
You can find the show here
This audio drama has been sitting on my computer for awhile. Part of the Wavefront Anthologies series, from Electric Vicuña and starring Jack Ward of the Sonic Society, Genevieve Jones, Tanja Milojevic (from Pendant Productions’ starring role in “The Line”), along with David Ault and John Bell, this hour long short has both emotional resonance and a twist which rivals the one found in “The Sixth Sense.”
The first quarter of this story is getting the reader up to speed and, at times, it can get tedious. The main character informs the audience via monologue. In the story itself, he is recording himself. The setting is outer space and the ambience and sound effects clearly establish this piece of world building.
The story picks up once the protagonist meets the love interest and the interest arcs upward until the twist, which blew my mind. It was perfect for the medium of audio.
Fantasy author Brandon Sanderson’s first venture into the YA market (The Alcatraz series is middle grade, from what I hear) tackles this issue of absolute power corrupts absolutely into a revenge story that is both surprising and inevitable.
Readers of any age will find the David’s bad metaphors a riot. It blends non-sensical humor found in younger children’s books with the literary styles of a high school English teacher doing a lesson on poetry and focusing on the differences between metaphors and similes. Set in our world, the government considers super powered beings natural disasters. These Epics (humans with super powers) have taken over the United States and unleashed an era of dystopia upon the country. The main plot the book presents is defeating a villain known as Steelheart, who is the most powerful Epic in the former Chicago area. Much like Mistborn: The Final Empire, the story revolves around a group of rebels known as the Reckoners as they try to kill Epics across the nation. Steelheart is going to be their toughest challenge. Luckily Dave has spent most of his life thinking about revenge and how to defeat the Epic who killed his father.
When the third act comes, it hits you. Hard. The battle between the reckoners and Steelheart is both epic and at the same time “down to earth.” With all the revelations happening by the end of the second and third acts, a sequel was inevitable. Sanderson achieves complexity with both his characters and his resolutions, making Steelheart a hybrid of YA and adult, and excellent read or listen all around.
To celebrate the 100th review, I’m re-releasing an updated version of Audio Drama Reviews Collection One. It can be found here with its new cover and title already live. If you’ve already downloaded the Kindle version, the updates should take effect within 72 hours after I hit publish (which will be on on 27th of September at 11 PM Central). Hopefully the updates take affect sooner, but I just wanted to throw that out there.
Amazon will probably send an e-mail out to people who bought the book to tell them about the newer version. However, you will need to turn on automatic book updates. I believe it’s set to on as default, but just in case here are the instructions.
1. Visit the Manage Your Content and Devices page
2. Select “Automatic Book Update” from the left navigation bar.
3. Click Turn On.
For the other platforms (Kobo and Smashwords), Simply e-mail me to receive the updated version. I’m not sure if they do updates the same way Kindle does.
Again the release date is 9/28/2014. So I won’t be sending out advanced copies until that date.
My first listen from Camp Fire Radio was a wonderful treat. Great story, acting, and a tale that made me wince in fear and disgust—but in a good way. What I found most fascinating was the hypnosis scene. The way it combined the “blind” medium of audio with John Doe closing his eyes and remembering the past was ingenious. I felt like I was John, as scary as that thought might be given the ending.
What makes the tale scary isn’t the gruesome sound effects—even though they are extremely visceral. It’s the fact that it’s based on actual history. Well, more like conspiracy type history. You can find more about the Philadelphia Experiment on its wikipedia page.
Overall I thoroughly enjoyed this tale. Short and sweet, but packed with tons history, horror, and imagination.
After the dark and ominous ending of the last episode, it was nice to take a breather. After all, the tales of King and Arthur and the knights of the roundtable should be lighthearted and fun, not gloom and doom.
The duel between Lancelot and Arthur was humorous, but at the same time the SFX sounded haphazardly put together at times. There’s one SFX that sounded like it came from “Monty Python and the Holy Grail.”. It was so well placed, assuming it was ripped, that it added to the lighthearted and dramatic irony of the scene. I laughed out loud.
By far the darkest episode, the third chapter of “The Table Round” takes the story told thus far and provides a common denominator for the series to follow.
Before now, the episodes seemed too episodic. There were loose connections, but nothing concrete enough to say that these stories were related. The reveal in episode three about Kind Arthur and the force which would one day take the thrown away from him tied in the first two episode and by the end, the story had taken a darker turn for the better.
One can only hope that the next episode isn’t as dark, because while certain aspects of the King Arthur myth are gritty and unpleasant, a lot of what people remember are the positive things like the Knights of the Round Table. (Or maybe that’s thanks to Monty Python). Characters like Mordred and Morgan La fey give fans of the mythology a reason to squee, while others will find their introduction to be a great development for the story regardless.