Subterranean Online’s SPRING 2008 audios: After The Seige by Cory Doctorow

SFFaudio Online Audio

Subterranean PressA FREE audio version of Cory Doctorow’s After The Seige has just been added to the Spring 2008 issue of the Subterranean Online magazine. Doctorow described the novelette/novella as “optimistic SF.” When Doctorow was writing it he said that it took inspiration from his grandmother’s stories of living through the Siege of Leningrad. More recently, it was lauded with the Locus Award for best novella.

Subterranean Online Spring 2008After The Seige
By Cory Doctorow; Read by Mary Robinette Kowal
5 MP3s – [UNABRIDGED]
Publisher: Subterranean Online (Spring 2008)
Published: June 2008

Part 1 |MP3| Part 2 |MP3| Part 3 |MP3| Part 4 |MP3| Part 5 |MP3|

There is also a different reading of the same story, by Cory Doctorow himself HERE.

Posted by Jesse Willis

A proposed bill to amend Canada’s Copyright Act

SFFaudio Commentary

Fair Copyright For CanadaA week ago the minority federal government of Canada, and Industry Minister Jim Prentice, tabled an amendment to the Copyright Act. Entitled Bill C-61, its purpose is to bring Canadian copyright law into compliance with the current WIPO treaty (this despite their being no international legal obligation to implement WIPO – it hasn’t been ratified by Canada). Prentice states in a Toronto Star letter to the editor that C-61 will allow…

“…the recording of webcasts [I think he means podcasts and/or streaming audio or video] and TV and radio programs” such recordings may be “enjoyed at different times; music to be copied on devices such as MP3 players; and the copying of books, newspapers, videos and photos into different formats.”

But, Prentice doesn’t mention that these are all liberties we Canadians already had without C-61. What he fails to mention is that the bill actually curtails citizen (and consumer) liberties. Bill C-61 criminalizes the removal of DRM and encryption. Bill C-61 criminalizes recording from broadcast streams and archiving for your own personal library. Bill C-61 is our very own version of the Digital Millennium Copyright Act.

What C-61 intends to achive:

-The plan is to make any streamed digitally recorded media like streaming audio (and video) legal only for an unspecified time – until you listen to it (ya that’s right an unspecified time until you listen to it). This means you won’t be able to archive something you recorded in a digital format even though you acquired it legally, and you can’t hang on to it for fear of being accused of not listening or watching it in a timely manner? WTF!?

-There is a $500 statutory damage minimum for possession of a single file freed from crippling DRM. With some audiobooks each CD has 99 tracks. That’s $49,500 for one CD. WTF!?

-Any circumvention of DRM, even on files you’ve owned for decades, files you’ve purchased, been given as a gift, or inherited, will be deemed a violation and subject you to a $500 statutory damage minimum (per file). WTF!?

-It will be illegal to transfer DRM’d files to your own iPod or portable media player (you can’t strip-out the forced ads out of DVD that you own either). WTF!?

-It will be illegal to make your media player compatible with an incompatible (but legally purchased) media files if it has DRM. WTF!?

I call this crap. It shall not stand.

Here’s the stuff to get you informed…

The bill itself [READ IT HERE]

Video of the press scrum after the bill’s introduction (CBC Newsworld) coverage on the introduction of the new bill (watch fast because the videos may be illegal after the bill is passed)…

And commentary from Business News Network…

And most damning of all the Industry Minister’s 10 minute interview on CBC Radio One’s Search Engine podcast |MP3|.

There aren’t a lot of good reasons for joining facebook. This is one! As of today, Thursday, June 19, 2008, a week after the bill was tabled in Parliament, 70,000 Canadians have already joined the Fair Copyright For Canada Facebook group to protest Bill C-61.

Posted by Jesse Willis

Robert E. Howard’s Queen Of The Black Coast as a FREE AUDIO DRAMA

SFFaudio Online Audio

AUDIO DRAMA - Robert E. Howard’s Queen Of The Black Coast

Broken Sea Audio Productions, the folks who brought you such original audio dramas as Jake Sampson: Monster Hunter and Grog and Gryphon, have finished adapting their audio dramatization of Robert E. Howard’s Queen Of The Black Coast. Now, the true age of Conan can begin!

Queen Of The Black Coast by Robert E. Howard AUDIO DRAMAQueen Of The Black Coast
Adapted from the story by Robert E. Howard
Performed by a full cast
Podcast – [AUDIO DRAMA]
Podcaster: Broken Sea Audio Productions
Podcast: June 2008 – ????

Episode #1: |MP3|

Into the seaport town Messantia, of the southern Hyborian kingdom of ARGUS, the road of Kings led the twenty four year old Cimmerian barbarian- CONAN. Having gotten crossways with the local justice system over a friend of his and the death of a guardsman, Conan took the law into his own hands with his mighty broadsword. The guardsmen were not pleased by his northern Cimmerian ideas of justice, so CONAN “borrowed” a horse from the courts and fled looking for a ship. The mercenary ship- The ARGUS, just so happened to be putting out to sea as CONAN thundered down the pier having just stormed through the market- guardsmen hot on his trail. Will the ship’s captain, TITO, allow the Cimmerian passage, or will the guardsmen fill his back full or arrows first? And what of the legendary She-Devil Pirate Queen of the Black Coast? Join the adventure and find out- BY CROM!

Subscribe via the podcast feed for BSAP’s Conan audio:

http://brokensea.com/conan/?feed=podcast

Posted by Jesse Willis

Review of Little Brother by Cory Doctorow

SFFaudio Review

Science Fiction Audiobook - Little Brother by Cory DoctorowLittle BrotherSFFaudio Essential
By Cory Doctorow; Read by Kirby Heyborne
MP3 Download – 11 Hours, 54 Minutes [UNABRIDGED]
Publisher: Random House Audio
Published: May 2008
Themes: / Science Fiction / Young Adult / Terrorism / Philosophy / The Internet /

Marcus, a.k.a “w1n5t0n,” is only seventeen years old, but he figures he already knows how the system works-and how to work the system. Smart, fast, and wise to the ways of the networked world, he has no trouble outwitting his high school’s intrusive but clumsy surveillance systems. But his whole world changes when he and his friends find themselves caught in the aftermath of a major terrorist attack on San Francisco. In the wrong place at the wrong time, Marcus and his crew are apprehended by the Department of Homeland Security and whisked away to a secret prison where they’re mercilessly interrogated for days. When the DHS finally releases them, Marcus discovers that his city has become a police state where every citizen is treated like a potential terrorist. He knows that no one will believe his story, which leaves him only one option: to take down the DHS himself.

I rarely feel uncomfortable when reading a book. Cory Doctorow made me feel uncomfortable. I had a deep and growing unease as I listened to Little Brother. Talking about it with a friend, in between early chapters, I at first had a hard time pinning down exactly what was bothering me so much. But, after explaining what the book was about I suddenly realized what the one nagging issue was that was causing this growing unease: It was the villains. They were “all straw men” I told my friend, “not three-dimensional, or believable.” Their villainy “wasn’t realistic,” said I. But soon after that, in cataloging their various villainies, I realized that everything that was happening in the near future USA where Little Brother is set, was already actually happening in the United States (or its offshore territories). It was at that point when I realized that what I had at first been seeing as a poor choice on Doctorow’s part (making the villains one dimensional, completely unsympathetic, and therefore unrealistic) – was not valid. Doctorow is talking about the United States in the very same way George Orwell was talking about the Soviet Union in 1984, or Margaret Atwood, the world, in The Handmaid’s Tale. I can’t effectively argue that real world villainy is unrealistic. The villains of 1984 and The Handmaid’s Tale are not unrealistic and neither are those of Little Brother. After I realized that, my attitude of dissatisfaction changed to one of alliance with the book. And the longer I’ve thought about it, the more I am convinced. This is a book that people, especially young people, should be reading. This is an important book. It addresses in a very accessible way, some of the very pressing issues confronting our new age.

Doctorow is both revolutionary and conservative. He wants to overthrow those who would shackle us to an old business model and preserve the long and honourable tradition of revolution. In the book, Marcus, the main character, has a couple of internet handles. The first, “w1n5t0n,” is a tip of the hat to the oppressed victim-protagonist of 1984, and the second is “Mikey.” That one’s a nod towards the proactive leader of the Luna revolution in The Moon Is A Harsh Mistress. I think Little Brother takes equal inspiration from both these masterworks of Science Fiction. That’s a strong recommendation in itself. Whether this will turn out to be a tenth as influential as either of those classics will turn on how much it resonates with you. This is a book I want people to read.

Another friend, who stopped listening to the book, said Little Brother was full of “infodumps”, and he has a point. It is full of infodumps. But, I think that term gets a bad rap. Science Fiction, as Cory Doctorow himself points out, has a long tradition of the infodump, and, since this is more than just a novel, it has to have a good share of technological and mathematical explanations. In my opinion, the way the novel is written, it doesn’t at all come off as particularly hard to take. Cory Doctorow, in fiction and in real life, is a clear and concise explicator of technologies. He comes up with terrific analogies that illustrate his points, and I therefore think the charge of excessive infodumping is like saying “her hair is too red,” it says more about your predilection for blondes or brunettes than about any particular red-head’s hair colour. Check out one of the infodumps from the book:

If you ever decide to do something as stupid as build an automatic terrorism detector, here’s a math lesson you need to learn first. It’s called “the paradox of the false positive,” and it’s a doozy.

Say you have a new disease, called Super-AIDS. Only one in a million people gets Super-AIDS. You develop a test for Super-AIDS that’s 99 percent accurate. I mean, 99 percent of the time, it gives the correct result — true if the subject is infected, and false if the subject is healthy. You give the test to a million people.

One in a million people have Super-AIDS. One in a hundred people that you test will generate a “false positive” — the test will say he has Super-AIDS even though he doesn’t. That’s what “99 percent accurate” means: one percent wrong.

What’s one percent of one million? 1,000,000/100 = 10,000

One in a million people has Super-AIDS. If you test a million random people, you’ll probably only find one case of real Super-AIDS. But your test won’t identify one person as having Super-AIDS. It will identify 10,000 people as having it. Your 99 percent accurate test will perform with 99.99 percent inaccuracy.

That’s the paradox of the false positive. When you try to find something really rare, your test’s accuracy has to match the rarity of the thing you’re looking for. If you’re trying to point at a single pixel on your screen, a sharp pencil is a good pointer: the pencil-tip is a lot smaller (more accurate) than the pixels. But a pencil-tip is no good at pointing at a single atom in your screen. For that, you need a pointer — a test — that’s one atom wide or less at the tip. This is the paradox of the false positive, and here’s how it applies to terrorism:

Terrorists are really rare. In a city of twenty million like New York, there might be one or two terrorists. Maybe ten of them at the outside. 10/20,000,000 = 0.00005 percent. One twenty-thousandth of a percent. That’s pretty rare all right. Now, say you’ve got some software that can sift through all the bank-records, or toll-pass records, or public transit records, or phone-call records in the city and catch terrorists 99 percent of the time. In a pool of twenty million people, a 99 percent accurate test will identify two hundred thousand people as being terrorists. But only ten of them are terrorists. To catch ten bad guys, you have to haul in and investigate two hundred thousand innocent people.

Guess what? Terrorism tests aren’t anywhere close to 99 percent accurate. More like 60 percent accurate. Even 40 percent accurate, sometimes. What this all meant was that the Department of Homeland Security had set itself up to fail badly. They were trying to spot incredibly rare events — a person is a terrorist — with inaccurate systems.

That all struck a chord with me. I don’t live in The States, yet I know that at least some people down there are blindly accepting these “safety measures” as not only a necessary evil, but as at least somewhat effective. The last time I took an airplane in The States I overheard a conversation in which a woman was telling her family that the Transportation Security Administration’s confiscation of her own lip gloss was for her protection. And she wasn’t being ironic!

Narrator Kirby Heyborne comes from a theater, movie, and music background. His youthful voice captures Marcus and his friends in an effective straight reading. This is audiobook narration as it should be. Two interesting afterwords by people mentioned in the book and a detailed bibliography cap the novel. There is no hardcopy edition of this audiobook available, but a DRM-free MP3 download is. GET THAT HERE.

Posted by Jesse Willis

The Mark Time and Ogle Award winners…

SFFaudio News

Mark Time AwardsYay! I can finally spill the beans! Who said I couldn’t keep a secret? Congratulations to winners of this year’s Mark Time Award for Science Fiction Audio, and Ogle Award for Fantasy/Horror Audio productions!

The Mark Time Awards are sponsored by MISFITS, and will be presented at Convergence on July 3, 2008 in Bloomington, MN.

Here are the awardees being honoured:

MARK TIME AWARDS

GOLD
Space Casey
Written & Produced by Christiana Ellis
SpaceCasey.com

SILVER
Androids and You
By Bill Stuart
Adapted & Produced by David Hinde Chapman
Rattenfanger Radio

HONORABLE MENTION
Mission Control
By Cynthia McGean
Produced by Sam A. Mowry
Willamette Radio Workshop

OGLE AWARDS

GOLD
The Stuff of Myth
Produced/Written by Roger Gregg
Crazy Dog Audio Theatre

SILVER
The Dead Girl
Written & Directed by Kyle Hatley
Produced by Robert Arnold
Chatterbox Audio Theater

and

Something Wicked This Way Comes
Produced by Chris Snyder, Mark Vanderberg, Jerry Robbins
Written by Ray Bradbury
Colonial Radio Theatre

HONORABLE MENTION
Afterhell, Volume 3: Bloodbath at the Giallo Hotel
Produced by Joseph Medina and Jamie Lawson
Ollin Productions

Congrats to everyone, and thanks everyone who sent in entries. You gave me some awesome audio cinema to listen to!

Posted by Dani Cutler

Review of Into That Darkness Peering: Nightmarish Tales Of The Macabre Vol. 1 by Edgar Allan Poe

SFFaudio Review

Into That Darkness Peering: Nightmarish Tales Of The Macabre Vol. 1Into That Darkness Peering: Nightmarish Tales Of The Macabre – Vol. 1SFFaudio Essential
By Edgar Allan Poe; Read by Wayne June
1 CD – [UNABRIDGED]
Publisher: AudioBookCase.com
Published: March 2008
ISBN: 0977845303
Themes: / Horror / Revenge / Cats / Noir / Wine /

Three tales from the original master of horror fiction, Edgar Allan Poe! Included in this collection are “The Raven”, “The Black Cat” and “The Cask Of Amontillado.”

Three classic tales. These stories are so familiar as to be almost genetic. They are the foundation for whole modern genres. Noir, Crime and Horror fiction were sired by Poe. Hear three of his finest in this, their finest form.

“The Raven” follows the curious events in one evening of unnamed brooding narrator. Whilst reading a tome of “forgotten lore” he hears a knocking on his door. What follows is a rhymed narrative rumination on the portentous meaning of the feathered visitor’s single utterance. Nevermore will you need to wait for another version. This one’s definitive.

“The Black Cat” is a first person account of the alcoholic events leading an animal lover to the depths of depravity and beyond into horror. This tale seems to encapsulate the entire fevered imaginings of the American temperance movement. Its supernatural elements are minor compared to its un-romantic view of an unrestricted humanity stripped of the superego. In other words, it’s a killer story.

“The Cask Of Amontillado” is a strong tale of cold, cavernous revenge served with a very dry sherry, one brick at a time. This is one of Poe’s most enigmatic works. What precisely the revenge is for, or if there indeed was any real vengence required (despite the narrator’s claim) has haunted scholars. However you interpret it, it does push all the “great horror story” buttons in you.

Narrator Wayne June assures us that he’s done his research on this new series of definitive Edgar Allan Poe readings, and in listening you’ll absolutely have to agree. Place names and pronunciations are perfect – accents and action are exact. You can often tell when a narrator is bluffing it, surfing through the sentences blindly. That absolutely doesn’t happen here. In Poe’s most famous narrative poem The Raven, for instance, there’s nary a line that doesn’t contain an archaic word that’d flummox. June never falters. He’s got them all sussed. The Black Cat too, has never sounded better. June captures the sympathetic first person narrative and then drives home the barbarity flawlessly. Light accents make “The Cask Of Amontillado”, the most difficult of the three tales here, flow like an old vintage newly discovered. There are already many versions of these three classics available on audio, but I’d venture not a single one could come even close to match any of these three. Wayne June’s voice is perfectly matched to the melancholic material. As was the case with his superlative Lovecraft recordings, nobody else’s voice is more more morbidly macabre than is Wayne June’s. This is essential listening.

Posted by Jesse Willis