Ryan Estrada’s nine episode comedy series asks some big questions and tackles even bigger ideas. Big Data is both funny and smart. A trait not found in a lot of humor pieces. At its heart Big Data will appease fans of both random side jokes and those who prefer a coherent story with humor sprinkled in. Almost all the jokes are a home run. At its peak, Big Data is both social commentary and a well-written sitcom with meta humor about the medium of podcasts. After all, it asks the question: What if the internet was gone?
The idea of there being seven keys to access ICANN and destroy the internet as we know it, sounds like the plot out of an epic or urban fantasy series. However, while that might be fantastical, the depth and knowledge of how the internet works is amazing. There’s just enough to make you wonder if there really are keys to the internet.
The tongue in cheek method of improv comedy isn’t just apparent in the episodes like “Relay” where there’s a blow by blow description of what’s happening from a single person. Something which is hard to pull off in an audio drama, but works marvelously here. If there was one thing about Big Data which might be a turn off it’s the chaotic nature of each episode. The script, assuming there is one, doesn’t have dialogue in the same sense as a movie or television show. It’s more like Mr. Estrada put people in a room, told them about the scene and let the audio recorder run for however long it took. The ultimate audio drama ad-libbing session.
Starting out as a successful Kickstarter campaign, Big Data asks complex questions, bordering on philosophical at points. Yet it’s still humorous, throughout. If you thought the episodes were funny, stay for the credits as you’ll get a quick chuckle out of them as well.
It’s not quite a romance in space, but writer Bob Koester know how to elicit the same emotions as a Harlequin novel. Interpret that however you want, but personally the milieu of Companions convoluted the romance arc, leaving it watered down and by no means easy to follow.
The story’s setting is hands-down hard science fiction, while the primary drive comes from the two love interests. The main problem with the characters is how they interact and that has nothing to do with the actor’s performances. Koester complicates their method of communication by adding a layer of confusion to an already loaded script, filled with a lot of exposition that doesn’t add much substance. They talk through a virtual simulation and the dialogue during those scenes will make you re-listen at least once, because you don’t know who’s talking: the online avatar or the person controlling it?
One thing which stood out was the non-linear structure of the story that’s combined rather elegantly with a classic victorian-esque frame narrative, though obviously set in the future. In addition to the frame, the story also skips around the lives of the protagonist, dodging the “boring” bits through obvious author sleight of hand.
Whether it’s a romance masquerading as hard science fiction or hard SF pretending to be a romance, Companions is worth a listen or two. Just don’t expect to understand everything even a second time through.
Adapted from the classic Grimm fairy tale, this audio drama of “Snow White and the Seven Dwarves” follows the source material well, yet adds some new elements and characters that fans of the Disney film will find interesting and compelling. A sort of secret history of what really happened.
Rather than start in media res with the evil queen and Snow White as established characters, the story begins with Snow’s mother and an owl conversing about the future. The princess hasn’t even been born yet. After introducing the geo-political tension between two rival kingdoms, you realize this isn’t your childhood Disney feature presentation.
The biggest difference between the children’s story and the animated film is the ending. For those who aren’t aware, the evil Queen tries three times to kill Snow White herself (four if you count the huntsman). The apple is a last resort, but it’s unclear as to whether the poison was the cause of Snow White almost dying.
The dwarves are limited to four. This change from the animated film and possibly the original fairy tale is almost required for an audio drama. The problem people thought the first Avenger’s film was going to have was too many characters to juggle and not being able to do them justice. David Farquhar and Voices in the Wind solve this problem by simplifying it. Rather than having at least seven people play the dwarves, he uses four who each act different from each other, yet combine traits from the other three dwarves found in the Disney film. Comparisons aside, this truly has feel of a fairy tale.
Farquhar is a force to be reckoned with and I look forward to his next project. You can find this on Audible, iTunes, Barnes and Noble, and more. For less than ten dollars, it’s perfect for kids and adults and for those awesome parents who want to introduce their children to audio drama at an early age.
Produced by Word of Mouth Productions, Endurance is a space opera on the surface, but not at its core. Using the tools of other science fiction before it, the creators of Endurance go wide, rather than deep into their story. The result is a cast of characters who might as well be complete strangers and an episodic structure promising one thing, but giving something else (for good or ill).
The first episode has its social stigma in the portrayal of Choi, a tech-savy asian business tycoon with a stereotypical accent. It's not as bad as stuff from the forties and fifties, but you'd be hard pressed not to roll your eyes at the voice.
By the time episode five rolls around, you have a general idea of where the overall arc of the story is headed. Executed almost like the first Avengers film in which each character is introduced in a creative and interesting way, the first half of the series acts as both a mystery and "page turner."
Each episode is standalone, focusing on a single character and having a full arc. Some pack more of an action vibe, while others are quiet moments. Episode five is perhaps the most emotional scene, dealing with issues like assisted suicide in a believable and almost heartbreaking way. The first episode is a Die Hard-type adventure with very little internal conflict. Episode six is a perfect blend of the two and offers a nice midseason finale for the series.
Endurance manages to be its own thing and still pack a punch episode to episode. Some are hit or miss, but the scope of the project is something to be marveled.
Expect the remaining six episodes shortly after the 200th review of We're Alive Season Three goes live on January 29, 2017. Plus a little something extra.
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.
The aftermath story of Marvel’s Civil War is a story which holds no punches, but those punches are rather soft. Unlike its predecessor, “The Death of Captain America” doesn’t have the luxury of falling back on other heroes and villains in the Marvel universe, when things get a bit dull. This is primarily a Captain America tale, or rather, the repercussions of his death to everyone who both knew him and knew of him.
There are a plethora of characters in this story, not as grand as Marvel’s Civil War, but enough to keep it mildly interesting. The political undercurrent which kept the story afloat barely gets by with simple tropes. The main cast includes Agent 13, Bucky Barnes, the Falcon and many others on both sides of the compass of good and evil, including those in the morally grey area.
Want to know the rest of my thoughts? Become a supporter on patreon and get this review along with an ebook of never-ending reviews, if you donate $3 every month. Exclusive reviews like this one are easily obtained at the $1 level. $2 gets you the audio review for this and future stories.
A Sherlock Holmes tale from The Sherlock Holmes Society in London. Released in 2009, this audio drama is reminiscent of a Grimms Fairy Tale. What makes this story interesting is that it plays in Sherlock Holmes’ childhood–where, even back then, his keen powers of observation were well above average.
To clarify the Grimm brother’s reference above, it’s not that this is a fairy tale. Rather there’s a certain story in that collection of stories which shares a lot of dark elements with this Sherlock Holmes tale. I’m referring to Rumpelstiltskin.
What does Rumpelstiltskin have to do with Sherlock Holmes? Not much, but there’s a certain character in this story who is essentially the devil. The father of one of Sherlock Holmes friends has, unwillingly, struck a deal with a mysterious man, and the scenes that man appears in are quite creepy and dark.
The mystery itself isn’t as memorable as the tone of the piece, but the perforamances are top notch and despite it being discontinued, this podcast–and in particular this episode is worth checking out. It’s one of the best ones out of this company
Part sci-fi, part cop drama–Edict Zero FIS excels in both engaging storytelling and tremendous acting. The one downside is that the medium level details are lost in translation. There were many times where you don’t know what’s going on, but on a micro and macro level, you understand everything you need to know. Perhaps a better word would be the specifics of the information.
The plot revolves around a team of federal operatives who are tasked with solving the mystery of who the illustrious Mr. Cook is and the reason behind him blowing up a building on New Years Eve. From there things get complicated.
The sci-fi may be prevalent in the technology and SFX of the show, but at its heart this is a cop drama. Albeit with less of an episodic-feel, where one episode equals one crime. There’s an overarching plot, which seems simple, but the more that’s uncovered, the more intriguing it gets.
The characters are great. Each one had a distinct voice, both on paper and the microphone. By far the most interesting reoccurring one is Agent Garrett, who has all the trappings of a sociopathic character, but is a federal agent. My favorite character in the first season, who disappears after his usefulness to the agents is fulfilled, is Socrates. Creator of the show, Jack Kincaid gives a performance that is mind blowing. The best I’ve heard in a long time when it comes to audio drama podcasts.
Around episode five of the nine episode first season is where the season reaches it’s peak. There’s so much going on, it demands a second listen as you’re bound to miss something minor. However, you can follow the story just fine without going through it again. Needless to say, this on my re-listen list and that’s an honor not many audio dramas have received.
Produced by Pocket Radio Theater and set in my hometown of Rochester, NY–this period piece about life in the upstate New York city during prohibition mixes the old time radio aspect of the time with modern audio drama sensibilities. Complete with music which reflects the period is only icing on the cake.
The writing is good and the sound effects even better. The immersion factor is seemless and you’re never thrown out of the story even for a little bit. A problem a lot of newer shows have with their production values.
The plot of this episode deals with two bootleggers who run into trouble with the feds. After a scene which explains a change in management for the two men, the bootleggers go about their daily lives, complete with name-dropping actual places inside Rochester, NY. As a native of the city, it made me smile. After the stage is set and we get to know the main characters a bit more, the episode ends.
There’s not much to say about this other than there are new episodes released on the 15th of each month and it’s a serial. The first episode is not self-contained, but there many things about it which hook you. I started listening to the next episode immediately after. If you’re a fan of the 20s and 30s, this audio drama is for you.
This episode starts off what with can only be called a flashback. There’s nothing inherently wrong with it, but the scene feels out of place when compared to the rest of the episode’s story–which is in present day. By the end, you still aren’t sure why it was included.
Moving on to the meat and potatoes of the story, episode four could basically be called 3.5 as it has very little to do with the previous plotline of Emmett trying to capture Monte Hogue. We’re introducted to another character, a man from the US Army. Seeing as this is a western, you know he’s going to be trouble. You arent’t sure in what capicity, but the moment he’s on screen you know he’s plotting something.
Once again, John Wesley Ship and the rest of the cast bring their A-game and the appearance of Robert Vaughn (Napoleon Solo from the original The Man from U.N.C.L.E series) makes the episode stand out a bit more than usual. This is the weakest of the episodes in terms of the overall story arc, but still a good episode taken on its own.