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.
Episode three of this audio drama western takes us once again deeper into the backstory of the characters. This episode is very much a set-up for episode four. Or at the very least a moment of rest which ends on a cliffhangar.
This episode is under twenty minutes, but it feels more like ten. The pacing is fast and the tension ratchets up with every spoken word. Without this increase, this episode would feel like a sequel, rather than a scene. If memory serves correctly, this episode was just one long scene, but it’s not something you’re thinking about when listening. In fact I just thought of it as I was writing this review. So points for that. Hopefully my memory is still functioning properly.
As for the plot of this episode, there really is none aside from what was set up in episode two. Emmett is once again on the lookout for outlaw Monty Hogue. The real conflict comes from the clash of personalities of the Emmett and his deputy. The ramp up in tension in that one scene is exhilarating.
The episode’s conclusion is a cliffhangar. A confusing one at that. For the first time, we get a glimpse of what it’s like to view the world when blind. It may be the logline for the show, but the execution feels like a badly shot action sequence. The one’s with all close up shots and shaky camera work. Episode four was also released last month and will be reviewed next week. Until then I give you with a rating.
At first listen, this might feel like a filler episode, but in truth it blends a “reaction” scene with some great character development. Getting to know a character through any sort of plot is a higher form of storytelling and something that can easily turn into something which feels obvious. The dreaded “author’s hand” writing motif.
Powder Burns episode two manages to slip in bits of dialogue about the protagonist’s history that it feels natural. Much like episode one where there was a sense of depth in each line of dialogue–whether it was about the setting, character, or plot–episode two has fewer of those moments, but their quality exceeds that of the pilot.
The plot for this episode revolves around a mentally challenged boy who shot a bank teller, and now Emmett Burns has to decide what to do when the town wants the boy’s life for his crime. That’s the setup. Right from the start, the tension keeps ramping up until you get to the climax where it all comes together in a nice neat bow.
Most of this episode is self-contained, save for the last minute or so before the credits where it gives a glimpse of what episode 3 might be about. We’re Alive redefined the zombie story for me and Powder Burns is doing the same thing with the western genre. Hats off to them.
An interesting premise, executed with the care and complexity of Pendant Audio’s Phantom Canyon. There are a lot of similarities between the two. They are both westerns for one, but seeing as how this is only the pilot episode, the amount of depth received was mind boggling. It’s not every day where in a single episode you get the backdrop and complexity of an entire series. Based on this episode alone, there was a sense that I knew these characters. In a less than twenty minute production that’s truly a remarkable feet.
The story itself is fairly mundane and simple. The twist near the end could be seen coming from a fair distance away. Normally this would make the story less enjoyable for most people. Your mileage may vary, but the true nature of this story is the gimmick of a blind protagonist in the medium for the blind.
Some people may see gimmicks as bad. On their own, yes they are, but adding little variations to a story can turn a cool idea into a story. It’s all about asking the right questions.
This is where the sad trombone music comes in. As of this review, the Kickstarter campaign the creator is using to help fund this endeavor is coming to a close. IF this gets funded, we’ll hear more episodes and that’s something I’d enjoy. I was not paid in any way to bring this message. The story just captured my attention and imagination enough to where I want to see this be successful, because it has so much potential.
John Wesley Shipp who stars as Barry Allen’s father on CW’s “The Flash” does a phenomenal job. The biggest worry for me was the potential for the dialogue to be too descriptive. Needless to say that didn’t happen and I enjoyed this all the way through to the end.