A fictional broadcast for a made-up corporation, Kakos Industries is the evil love child of The Bright Sessions and King Falls AM and that’s not because it’s structure and style match those two titans of newer audio dramas.
Kakos Industries easy-to-follow format is one of its hallmarks. On average, there is only one character. That of Corin Deeth III, voiced by creator, Conrad Miszuk. The show’s format is focused on corporate announcements about Kakos Industries and its operations in the world. There’s a lot of dry wit humor and dark comedy sprinkled throughout, adding a Pratchett-esque feel to the episodes as a whole.
Continuity between episodes is easily forgotten if you’re not listening back to back and is quite subtle. Most of them take the form of running gags like Kakos Industries shareholders being the only ones who are able to listen to the announcements. Anyone else should end their lives in a black comedy kind of way. Obviously, this is not for the faint of heart and contains explicit language such as the occasional f-bomb and humor that makes you “that’s just wrong” throughout. Personally, I love it. If I ever get more free time, this goes on my list.
Each episode is more or less standalone and releases each month along with the full text on their website.
Caalo Xan is as science fiction as one can get, having a hound as the leading character, a team of swashbucklers travelling through the Galaxy, and meeting a weird and alien cast of friends and foes along the way.
Multiple things about the audio drama can hook the audience. It has an excellent original song playing at the beginning and end of every episode, which can draw anyone into the atmosphere and tone, very much like how an audio drama should. Another excellent thing are the sound designs. Actions scenes are given a boost on life due to the laser sound effects, the soft, creeping footsteps of enemies, and the speed of the spaceships. The characterization is extremely well done, as the dialogue flows naturally and their topics of discussion really humanize them into something more than a ragteam of misfits.
However, there are some technical problems with the audio drama that might make it hard for people to listen to. First, some of the voice acting could’ve been better, as they are often monotone or just feel like an actor reading off a script. There is little believability when it happens. Another problem I noticed was the inconsistent volume levels, ranging from extremely low to intolerably high. As such, immersion is almost immediately broken when this occurs.
It’s shocking to learn that over forty people have given their voices for this project, so it’s obviously a collaborated effort to mimic the 1940’s radio drama style, which succeeds splendidly. While science fiction isn’t my favorite genre, the compelling stories and memorable cast of characters overshadows the technical problems the show has.
Gallowtree Radio details strange events from a town somewhere in England. These events range from literal identity theft to “homeless zombie scum” taking over the world… so predictable, huh? This is very much a story-driven podcast.
Listener’s should be aware that Gallowtree’s concept is noticeably similar to Night Vale, so if you like that podcast, odds are you will like this one. Basically, it’s as if Night Vale was set in a British horrorshow that’s being run by a mentally disturbed anarchist. Although the setting might turn some listeners off, Gallowtree has high production value and good voice acting.
Despire the limited voice cast, I felt that the narrator had a vivid personality and a very loud, creepy voice that suited the tone wonderfully – in particular, the tone and atmosphere. It does wonder for the tone and atmosphere. The writing is a little fast-paced if one is not paying attention. They could easily miss some really good social commentary and important details into a 1984-esque world.
The show has good pacing and good writing, often making references to problems in contemporary society, such as religion, police brutality, politics, and numerous other topics. The 22-minute format reminds me more of a science fiction TV show on the SyFy network than a podcast.
The background noises are so detailed and precise that it only makes you more involved in the insane world it presents. Small things like the echoing background noises sound more like a disgusting sewer than anything else, with rats scuttling across the floor and vault doors slamming shut so politicians and zombies can’t get in.
This is obviously a labor of love, as it was made by only a few dedicated people who so obviously love the impact Night Vale had on podcasting and audio storytelling. Anyone who is a fan of creative, creepy stories and excellent social commentary should take a ponder at the British craziness that is Gallowtree.
At first glance, this sounds like a cool idea and upon closer inspection it had the potential to be a kick ass modern-day take on Samurai. Most of the problems lie within the short length of each episode and the odd, almost forced characterization of the main character.
Miles Moto is supposed to be an Asian American Bruce Wayne. He certainly has the skills, but they border on the unbelievable. For example, there’s no real sense of how hard he trained. This is an origin story and its hard to suspend disbelief on a guy who suffers from a haunted past in the military. The way the fight scenes were handled certainly didn’t help, but again the setup wasn’t there to make you believe he could do all those things and do them so well. On top of that, his desire to become part of the Los Angeles Philharmonic is a bit forced on the page, but comes across as not all that important until the end. The opening narration for each episode, explaining who Miles Moto is and what his passions are, go a bit too in-depth with his character. It adds some depth, sure, but what’s the point aside from making him forcibly more complex.
The length of the episodes is almost too short for what it’s trying to accomplish in this five-part origin story arc and the fact you have to purchase them individually is also a pain. The shortest episode is around ten minute long, including the credits. Considering the money you put in, the investment is barely worth it–Quality not withstanding. An extra five minutes for each episode or ten minutes across all the episodes would have given a lot more context on the characters. As it stands now, I really didn’t care about any of them.
There were a number of awesome story hooks that never got utilized to their full potential. On top of that, it just wasn’t that memorable. Nothing got you excited about going out and purchasing the next episode, let alone listening to it.
The acting is without a doubt the best part and the production value is at least on par with many audio drama podcasts, if not better.
Pendant Production’s audio drama adaptation of Valiant Comics’ series, Archer and Armstrong is both for the fans and a wild ride in general for everyone else. The four episode arc titled “The Michelangelo Code” is filled with humorous gags such as ninja nuns and a secret order of nazis with a ridiculous name. If you’re getting a Dixie Stenberg vibe, you’re not alone.
If you’re fan of the comic, you’ll no doubt enjoy this. If you have no idea who Archer and Armstrong are, you’re at a slight disadvantage. It’s like watching Avengers: Age of Ultron and not seeing the phase two films leading up to it. You’ll understand the main plot, but almost half of the characters will be unknown. Even more so if you haven’t read or know about the source material. Archer and Armstrong lies somewhere in between the DC Extended Universe and the Marvel Cinematic one, but much closer to Marvel in terms of tone.
The creativity and attention to detail in the production and sound scape alone were incredible. The moments where Archer is explaining the fighting style he’s about to use on someone were pure gold and felt right out of a comic book. Its execution played out like the first fight scene in the 2008 Sherlock Holmes film, starring Robert Downey Jr., making the listener go wow that was fun and cool. Something which is lacking in entertainment these days.
Archer and Armstrong is available for purchase on Amazon/Audible and iTunes.
A charming and humorous blend of oral storytelling and drama for the ear. The tenth episode of the Brimble Banks Brothers is a self-contained unit and at the same time a continuation of previous episodes. Coquettes and Cougars is the story of a family in Atlanta and their daughter’s planned marriage to someone of aristocratic heritage and wealth.
Honestly, the frame story of the brothers was far more interesting than the one of southern sensibilities and random cougar attacks. The frame narrative uses classic fourth wall breaking to constantly throw you in and out of the story. At times this is exhausting as you aren’t sure if you’re listening to the story about cougars in the southern United States or back in the real world with two bickering brothers who can’t seem to agree on what the story is about.
The overall narrative is all over the place and incorporates characters from previous episodes into the story. Yes, it’s that kind of story. No holds barred and out there in terms of pacing and plot. In this story, anything goes, including the kitchen sink. If that’s your cup of tea, you’ll enjoy the stories type of humor.
The biggest problem with this is the lack of attention to detail at some points. Not from a story stand point, but a production aspect. The volume goes up significantly at random places throughout the 50 minute long episode. It’s doubtful it was intentional and it’s not something you hear every day in the audio drama community, no matter if it’s free or for purchase.
Without having listened to earlier episodes, it’s hard to give thoughts on the overarching series with the two brothers. That being said, it sits on my feed, waiting for when I have free time.
The first season of the audio drama “The Bright Sessions” (written by Lauren Shippen) may be two people talking in a room, but it’s some of the most compelling storytelling and acting I’ve heard in a while. The premise is straight forward–a psychologist for the supernatural.
The story isn’t simply Dr. Bright talking with her patients for 10-20 minutes per episode. Each of her patients has an otherworldly power. Mind reading is the most “normal” in terms of speculative fiction. The most complex character is Caleb. His ability isn’t too specular (reading people’s emotions, rather than thought), but Lauren Shippen’s 16 year old character balances the line of homosexual and heterosexual behavior that one can interpret his sexuality either way and isn’t heavy-handed as a result.
Diversity aside, it’s hard to fault something this basic. It accomplishes what it sets out to do. There’s no complex narrative or witty banter between Dr. Bright and her patients, which eliminates any need for speculation or theory-crafting, almost.
As the story unfolds through Dr. Bright’s audio logs before and after the sessions, her interest in these unique people seems a bit more ominous. By the end of episode nine, you realize there’s more to this service than simply helping people with extraordinary powers.
Another fascinating aspect of this story is the transmedia nature of the podcast episode descriptions. There’s a sense of a larger world through them. Sure it might seem shallow, but what transmedia campaign is known for being anything other than a gimmick. For example, what do the levels of empath mean? How powerful is a level seven compared to a level four?
So much is left unanswered at the season finale, but based on the structure of each episode, there’s no feeling of loose ends. At least not when you consider it’s a season finale with more being released on a regular basis.
The Wall in the Mind is an Irish-produced audio drama set in Berlin before and after the fall of the Berlin wall. It centers around an Irish woman named Claire O’Hanlon and her adolescent boyfriend Emil who mysteriously reappeared after years of being missing. The main focus is Claire and her obsession with finding out the truth about Emil.
By far the best part of this audio drama was the dystopian tone from the pre-fall period of the Berlin wall. There was so much tension and realistic angst for the characters, it felt like I was experiencing the second Hunger Games film in audio form. The fact that it’s set in the real world past makes it all the more bleak.
The title is purposefully misleading. Throughout the story you get a sense that Claire might not be all there. She’s constantly making rash decisions when she arrives in modern day Berlin all because she is desperate for some closure.
The German and Irish accents can be hard to understand for an american audience, but you still get the general sense of what they’re saying despite not hearing all the words. The actors, specifically the male ones, sound similar enough to each other that you wonder who’s talking to whom. The cast is also a bit to large for the kind of story there telling, making it needlessly complex. The soundscape was created on location, which definitely added to the confusing nature of the dialogue and scenes. Audio drama may be a blind medium, but when the listener feels blind as to what’s going on, the immersion factor decreases.
My interest level waxed and waned constantly throughout listening. There are so many twists and turns and you’re sure the story will end a certain way. In fact the story practically confirmed my early suspicions during episode five. However by the end of the series, it’s not entirely clear why the scene was included as it raises more questions than it answers. Needless to say I fell for the misdirection, thinking Emil’s fate had to be part of some conspiracy. It’s almost like “Memento” in the way our primary focus is on one character. Everything we experience is filtered through the lens of Claire O’Hanlon.
Overall this six-part audio drama series is a great example of writer’s creating misdirection in their mysteries. Even if they didn’t quite nail the landing, it was still an impressive jump.
This superhero origin story achieves the same effect as the Deadpool film, while at the same time fulfilling the promises inherent in the genre of space opera comedies. Ray Gunn and Starburst starts off a little lackluster. There’s nothing new here, aside from the fourth wall breaking, and even then that feels like a gimmick. It’s not until episode three when we learn of the larger world and thus the stakes of the galaxy.
That being said, the evil overlord is not all that threatening and his terror comes from characters reacting to him rather than him doing anything all that evil. If you’re the kind of person who enjoys a good villain, you may be disappointed. They do rectify this in the last episode, but by that point it’s too little too late.
The cast of characters are a delight and the ending surprisingly works, despite it essentially being deus ex machina. I won’t spoil the end other than to say the fourth wall break keeps it from being a poor story choice.
Ray Gunn and Starburst is a breath of fresh air for the audio drama medium, because it adds something new to the overpopulated space opera comedy genre. Also, if you’re a fan of fourth wall breaking, you’ll certainly get a kick out of this. It’s not quite the same as Deadpool, because it’s not the character who breaks it, but it’s still very much the same in theory. The foreshadowing commercials are a nice twist on the typical fake advertisements found in shows such as Hadron Gospel Hour as they serve more than one function.
ISS Forlorn Hope feels like the beginning of a series, but offers the self-contained nature of a television pilot. The story starts off strong. Bits of humorous dialogue make the characters likable and place the reader gently into the opening scene. Not much set up is required and you get the gist of what’s at stake early on.
A man is on trial for the murder of his best friend. As his retelling unfolds, we learn about his friend and how the two of them got sucked into a space opera world, full of evil overlords and technological marvels. And what better way to start this off than at a science fiction convention. A mysterious couple of aliens wants a box the two characters–Rob and Keith–have come into possession of. How a box as powerful as it was described happened to land on earth is a mystery. Then again, this is a comedy and thinking that in depth about the story doesn’t bode well for anyone. Rob and Keith are forced onto the ship, but Keith doesn’t survive. In fact, we learn the incompetent ship’s doctor “Improved him” to the point that he’s no longer human.
This a comedy and stupid humor occurs from time to time, but overall the story is consistent with itself and not over the top with its cheap jokes. Honestly there are so many space opera comedies out there, it’s hard to differentiate them. Most of these types of stories feel rehashed and overdone. Once you’ve experienced one of them, you basically how it’s going to end, and the journey isn’t that impressive either.
Overall this a solid introduction to a larger world with the compactness of an hour long television pilot. The credit read was a delight, but there’s nothing fresh and new here to warrant anything other than a standard rating.