SFFaudio essential – Page 13

Review of Antibodies by Charles Stross

SFFaudio Audiobook Review

Antibodies
By Charles Stross; Read by Jared Doreck and Shondra Marie
1 CD – 54 Minutes 16 Seconds [UNABRIDGED]
Publisher: Infinivox
Published: 2005
ISBN: 1884612474
Themes: / Science Fiction / Singularity / Conspiracy / Artificial Intelligence / Parallel Worlds /

– Click HERE to hear a sample –

“Damn it, Bob, I really had high hopes for this world-line. They seemed to be doing so well for a revelatory Christian-Islamic line, despite the post-Enlightenment mind-set.”

The announcement of the solution to the traveling salesman problem heralds the imminent destruction of humanity. No more salesman; no more problem. The story begins when a computer programmer is notified by RSS feed that all NP-complete problems lie in P, and thus computer encryption is forever compromised. Knowing the disaster for what it is, he flees, but with this being such a hard-takeoff he might not make it.

Stross’ ideas are hard, cold, pure, and funny, but it is his storytelling – the effectiveness of the complete tale – that elevates his perspective SF ideas into Science Fiction excellence. This is the kind of fiction I love; thought provoking with shrewdly surprisingly but necessary consequences of the premise. Stross goes from alpha to omega faster than you can guess, and in so doing delivers a solid entry into SF’s growing dialogue about The Singularity. Antibodies reminded of Isaac Asimov’s similarily elegant short story Living Space. Also refreshing is a humourous conspiracy that explains why Microsoft Windows-based computer viruses are so prevalent.

Allan Kaster, who runs the Infinivox wing of Audiotext, has put deep thought into this tale’s production. The narrators, Jared Dorek and Shondra Marie, pair up to deliver the action in this first-person perspective masterpiece of SF. Marie reads all the female voices and Dorek all the male. When each speaks the role of the hero and heroine, they do so in an amalgamated accent that is implied by the text. The production is carefully woven with transition music designed to show textual scene transitions and time passing. But it is the story that elevates this audiobook to SFFaudio Essential status. With a running time just shy of one hour you aren’t likely to have a more quintissential Strossian experience on audio.

Posted by Jesse Willis

Review of V For Vendetta by Steve Moore

SFFaudio Review

V For Vendetta
Novelization by Steve Moore; Read by Simon Vance
11 Cassettes, 8 CDs or 1 MP3-CD – 9.5 Hours [UNABRIDGED]
Publisher: Blackstone Audio
Published: 2006
ISBN: 0786144637 (Cassette), 0786170777 (CDs), 078617711X (MP3-CD)
Themes: / Science Fiction / Dystopia / Terrorism / Anarchy / England /

— Click here for an audio sample —
“Remember, remember the fifth of November, The Gunpowder Treason and plot. I know of no reason why The Gunpowder Treason should ever be forgot…”

This audiobook had a long and treacherous road to release. Perhaps even worse, it has a questionable provenance. V For Vendetta, the unabridged audiobook, is several steps removed from the original source material. Worse still, the adapted property has been completely disowned by its original creator, celebrated graphic comics writer Alan Moore. He quite literally had his name removed from the movie credits, the novelization, and consequently this audiobook – in short he wants nothing to do with it.

Alan Moore is a famous figure in comics, and his opinion carries much weight among comic book readers. Because of all this, V For Vendetta, the novelization of the movie of the same name, is in serious jeopardy of being dismissed. But given the original material’s quality and the near classic vintage – the character and setting for “V” was originally birthed in early 1980s – you might be inclined to give this audiobook a try anyway. And for that you will be rewarded.

The road to release began with The Wachowski Brothers, the creators of the film The Matrix, optioned the story. They purchased the rights and scripturally adapted the graphic novel of V For Vendetta for the screen. After the film began production their script was then again adapted, this time as a movie novelization (or as the industry calls it a movie tie-in novel). The novel was written by Steve Moore, who, while no familial relation to Alan Moore, is very much his friend. Then Blackstone Audiobooks stepped in, hiring Simon Vance to voice an unabridged audiobook version of the Steve Moore’s novelization of The Wachowski Brother’s script of their movie which was originally based on Alan Moore’s original comic book series (that was collected into a graphic novel). See what I mean about a treacherous road? At any point along this journey the story could have been ruined. But what happened instead is that it has been IMPROVED! Indeed I think story-wise this is the best version of V For Vendetta…

Soon after the opening of the novel a mysterious figure named “V,” who dresses in a Guy Fawkes costume, promises to destroy the British Parliament buildings on November 5th, one year hence. It is a bit unlear at first, is the fascist governing party the target of this threat, or perhaps it is the people of England in general? Only one woman has even a clue. Her name is Evey. With war raging round the world, an English supremacist party called “Norsefire” has fully secured governmental authority in England. Some time ago, Norsefire successfully seized the initiative, and now England’s remaining citizenry are in a stranglehold of their own making. At the start of the novel the government controls media and a petrifying secret police force seemingly made up of little more than street thugs prowls the streets after dark. In the recent past the last of the last of the concentration camps has closed – their grisly work completed. The populace has been lulled into their docility by a combination of mindless television drama, propaganda posing as opinion, and horrifying news stories about how much worse everywhere else is. So when an anarchic revolutionary destroys London’s Saint Paul’s Catherdral in pyrotechnic display, the compliant populace is only slightly stirred. The government explains that it was just a “scheduled demolition” and many Britons even believe it. But when “V,” a seeming superhero/supervillan goes on BTN the sole governmental television network, and announces a violent campaign to be capped in by the destruction of parliament buildings in one year’s time the populace begins to question if “England shall prevail” or whether it even should.

Like George Orwell‘s classic dystopia 1984 the totalitarian regime in V For Vendetta rose to power by exploiting people’s worst fears and firing-up their prejudices. Interestingly the viewpoint character is not V himself. V’s personal history, past a certain point, remains mysterious right to the end. Despite a completely third person perspective we basically follow a young woman named Evey through this tale. V saves Evey early on in the novel from a rape by government agents known as “Fingermen.” Evey’s journey is not unlike that of the population, for which she can serve as an emotional example. One other character, a police Inspector named Finch, as dutiful and honest a detective as one’d want, offers another view of that same populace coming to grips with the type of society in which it lives. Finch is assigned to pursue the mystery of V, and in so doing unravels the history of the party’s origins and V’s vendetta. About two-thirds of the way through Evey’s journey with V and his vendetta Evey is captured and tortured. Her only solace during her ordeal is a scrap of toliet paper with a moving biography of her neighboring victim. The payoff from this is extremely surprising, utterly transendant and I think probably even true. There isn’t enough praise to go round for this one, Alan Moore for originally writing it of course, the Wachowski Brothers for recognizing it and popularizing it and Steve Moore for preserving and enhancing it. They all deserve major public honours here.

On the audiobook end, Simon Vance is my new favorite British narrator. The Shakespearean inspired “V-speech” that he delivers near the beginning of this audiobook is without parallel in my experience. It’s deliciously composed, elegantly constructed and with Vance’s performance, wonderfully delivered. The film version of this same speech is very good too, but I actually found myself better able to follow it via Vance’s excellent enunciated delivery. Steve Moore, the adaptor of the film’s script, has done something special. He’s taken many inspired liberties with the script by filling in as much detail as he could to flesh out the story – nearly every effective new addition to the story was taken from the original source material the comic book version of V For Vendetta. Finally, I can thankfully say that the plot detail involving the destruction of the British parliament buildings (including London’s Big Ben) is preserved from the film version. This is extremely important. To be sure there is a scene of the destruction of the British parliament buildings in the original graphic novel but the timing of it there is far less effective in terms of a story’s arc. Though it might be controversial to say, I think it is true: The Wachowski Brothers, in their adaptation of Alan Moore’s story, clearly understood the power of terrorism better than Alan Moore himself did at the time of the comic’s writing. The goal of terrorists is to show that an authority cannot control the terrorists. When a terrorist threat, like the destruction of a weighty architechtural symbol, is made and then carried out that effect is achieved. Some fear comes from a lurking dread of some muzzy non-specific threat but true political power stems from being able to call every shot, make the predictions on destruction and have them all come true every single time. In rejigging the story to make the destruction of the British parliament buildings happen near the end instead of the start, the already powerful story of V For Vendetta is vastly improved. An SFFaudio Essential.

Posted by Jesse Willis

Review of A Scanner Darkly by Philip K. Dick

SFFaudio Review

A Scanner Darkly
By Philip K. Dick; Read by Paul Giamatti
8 CDs – Approx. 9.5 Hours [UNABRIDGED]
Publisher: Random House Audio
Published: 2006
ISBN: 073932392X
Themes: / Science Fiction / Drugs / Consciousness / Identity / Paranoia / Law Enforcement /

“I myself? I am not a character in this novel, I am the novel.”
-Philip K. Dick A Scanner Darkly

Bob Arctor is the owner of a ramshackle Orange County, California bungalow that houses a small group of drug users. The police think Bob is a dealer in the dangerously addictive drug called Substance-D but Bob really isn’t. Or is he? Fred thinks so, Fred is a deep-cover police agent assigned to surveil Bob’s every move by means of holoscanners and upclose undercover investigation – but Fred’s job is made more difficult because it requires him to take Substance-D, the effects of which have been to gradually split his brain into two very distinct and mutually combative conciousnesses. Fred schizm is so bad that he now doesn’t realize that he is also Bob Arctor and that he has in fact been narcing on himself! Fred/Bob’s only hope is to convince his/their dealer, a druggie named Donna, to get him to the source of Substance-D. Yep it is another typical Dickian plot, the downtrodden protagonist/s finds him/themselves at odds with complicated plot, which while not specifically aimed against him, is something in which he/they have become inadvertently entangled. Unfortunately when survival is the object of the game, Dick’s poor characters don’t know that doubling-down only multiplies the jeopardy by a factor of two.

Dick was no stranger to paranoid drug fantasies. Back in 1972 with his fourth marriage in ruins, an unsolved burglary in his Marin County home and a serious amphetamine addiction Dick travelled to Vancouver, British Columbia to be Guest of Honor at V-Con. After delivering a landmark speech he attempted suicide. Desperate for help, Dick begged and gained entrance to an exclusive heroin addiction treatment center called X-Kalay. This despite the fact he wasn’t addicted to heroin. When he eventually retuned to California he started work on a new novel. A Scanner Darkly was the result. Now 33 years later Dick’s novel has been adapted for audio as a result of the new film version. The good news is, no matter what you think of the film you’ll dig the audiobook. Despite what mayu sound like a downer, you’ll dig this book, A Scanner Darkly has some of the funniest scenes in all of Science Fiction. One section about a suicide gone wrong showcases Dick’s absurdist intellect… “[Charles Freck] spent several days deciding on the artifacts [that would be found by the archaeologists who discovered his dead body]….He would be found lying on his back, on his bed, with a copy of Ayn Rand’s The Fountainhead (which would prove he had been a misunderstood superman rejected by the masses and so, in a sense, murdered by their scorn) and an unfinished letter to Exxon protesting the cancellation of his gas credit card.” Even better, the ending is masterful, giving up the same Science Fiction satisfaction as did his Hugo winning The Man In The High Castle.

Actor Paul Giamatti (who had a supporting role in the film version of PKD’s Paycheck) was the perfect choice to read A Scanner Darkly. Giamatti’s on-screen characters only hint at his range and it took this audiobook to showcase all that talent. This is an excellent performance, Giamatti has said that Steve Bucemi should have been cast in the Tom Cruise role of the Minority Report film but I’m thinking it should have been Giamatti. His sympathetic portrayal of these drugged-out hippies and drugged-up cops makes this Random House’s A Scanner Darkly the definitive reading of a Dick novel. Giamatti ably gives distinction to the cast of losers and even carries off the German sequences without a hitch. What blows me away about this production is that Giamatti had expresed interest* in being in the Linklater film version of the same name, Giamatti has stated in multiple interviews that he is a fan of PKD’s work. Giamatti has even been approached to play PKD in a film adaptation of Dick’s life! That’d be a hoot.

Two Seeing Ear Theater alumni, Brian Smith and John Colluci, produced and directed Giamatti’s performance. The audiobook also includes intro music and the complete coda; a list by Dick of many of his closest friends who died or were severely damaged by drug use. I heartily endorse this unabridged audiobook and we in our influenced wisdom have seen fit to grant it a hallowed place in the hall of SFFaudio Essentials. This is a book to be long remembered and a reading never to be forgotten.

*Entertainment Weekly (issue #884/885 Summer 2006 Double Issue – page 117)

Posted by Jesse Willis

Review of The Dark Worlds Of H.P. Lovecraft Volume 1: The Dunwich Horror and The Call of Cthulhu by H.P Lovecraft

The Dark Worlds Of H.P. Lovecraft Volume 1: The Dunwich Horror and The Call Of Cthulhu
By H.P. Lovecraft; Read by Wayne June
3 CDs – Approx 3.5 Hours [UNABRIDGED]
Publisher: Audio Realms
Published: 2005
Themes: / Fantasy / Horror / Gods / Evil / Mathematics / Dreams /

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the light into the peace and safety of a new dark age.

When Fantasy is inspired by science it can be especially powerful. H.P. Lovecraft built his mythos using the scientific concepts of his day. There could have been sensible talk of ‘other dimensions’ before the experiments surrounding the nature of light. And much of the alienness of his creations explicitly depend on such concepts in theoretical physics as non-euclidian geometry. With these concepts being in the air Lovecraft set out to plant a seed of churning fear with his fiction – turning the many unknowns science was uncovering into unspeakable horrors that lurk within the imagination. Combine this with Lovecraft’s dense and brooding prose and you’ve got something that no modern author could get away with. No modern author could, Lovecraft does. Audio Realms is starting to release the titles that make any classic fantasy fan salivate. Here in this terrific audiobook are two tales of horror that we declare to be SFFaudio Essential:

The Dunwich Horror is the tale of a backwater New England town with a devolving populace and one particularly strange family’s chronicle. It starts with two small things. The cataloguing of some mouldering old books and a disturbing birth of a new resident. These events are the begining of a new danger for the hamlet of Dunwich and possibly the Earth entire. What’s interesting here, as with so many early horror tales, is that Lovecraft creates evil not by revealing action directly but by atmosphere and appeal to our primitive revulsion reflex. Lovecraftian evil is not something created by moral degeneracy (though he does talk of that), but rather by sheer alieness, an atmosphere of ignorance and most of all a lurking dread.
I’m not sure it would make much sense to be an apologist for the Elder Gods who’d consume us without a thought – but what exactly makes them so evil? Since everyone who finds out has their sanity blasted we’re not likely to find out very soon.

The Call Of Cthulhu is a reconstructed tale. A nephew finds in the his recently deceased uncle’s study some strange documents. A young nephew discovers in his recently deceased uncle’s study some correspondences and notes, along with a mysterious and disturbing statue. It seems that several mysteriously similar cults worship of a being, who they call Cthulhu. A sea voyage eventually yielded a brush with an unearthly force. I won’t reveal any more of the plot, but I will say this, I think Philip K. Dick may have been inspired by this story for his novel Galactic Pot Healer. This creepy tale is perhaps the definitive Lovecraftian work. They even named a great role playing game after it. One suggestion, this one is pretty scary, you may want to wear brown pants while listening.

Narrator Wayne June’s voice will give you the absolute lurking creeps. His deep raspy voice is also used to good effect for all the narration, when he is infrequently called upon to do the voices of the damned he distinguishes between them well. This is the best Lovecraft adaptation to audio I’ve heard and more frightening than hell. For full effect a listener should turn down the lights, put on a good set of headphones, sit in a lonesome room with a view of the sea and pray that Lovecraft was just making all this stuff up.

Posted by Jesse Willis

Review of Ender’s Game: Special 20th Anniversary Edition by Orson Scott Card

Ender’s Game: Special 20th Anniversary Edition
By Orson Scott Card; Read by Stefan Rudnicki, Harlan Ellison, Gabrielle de Cuir, David Birney and a FULL CAST
9 CDs – 10.5 hours [UNABRIDGED]
Publisher: Audio Renaissance
Published: 2004
ISBN: 1593974744
Themes: / Science Fiction / War / Children / Military / Politics / Spaceships / Space Station / Aliens /

Andrew ‘Ender’ Wiggin isn’t just playing games at Battle School; he and the other children are being tested and trained in Earth’s attempt to find the military genius that the planet needs in its all-out war with an alien enemy. Ender Wiggin is six years old when his training begins. He will grow up fast. Ender’s two older siblings, Peter and Valentine, are every bit as unusual as he is, but in very different ways. Between the three of them lie the abilities to remake a world–if the world survives.

Many male children covet uniforms and the manly art of war – and on the surface that is what Ender’s Game appears to be about, a wish-fulfillment novel for the pre-teen set. But it isn’t only that. Science Fiction is an accumulative literature, perhaps more so than any other kind. Good creations stick in SF and accumulate and grow. Robots once invented, need not be reinvented. Faster than light travel, time travel or Asimov’s “three laws” are tools which once created need not be ignored as outside the scope of another SF novel, quite the contrary in fact. Simply ask yourself; in what other literature could a constructed story device like an “ansible” (invented by Ursula K. Le Guin in 1966 but used in Ender’s Game) be mentioned without renaming it? But it is not just the story props that SF shares, the concepts and themes of science fiction can never be fully appreciated in isolation. Every science fiction story is in dialogue with another.

Ender’s Game is especially engaged with two other superlative science fiction novels that preceded it, namely Robert A. Heinlein’s Starship Troopers and Joe Haldeman’s The Forever War, and like those two masterpieces of science fiction Ender’s Game has something new and unique to say. Whereas Starship Troopers can be viewed as the relationship between a teenager’s individualism and his relationship to society (a neo-Hobbesian social contract concept typical of mid-career Heinlien), and The Forever War as a discussion of that same relationship but with a college aged young man and his more skeptical worldview (the post Vietnam influence) Ender’s Game engages neither an adult’s nor a teen’s relationship to his society its war. Instead Ender’s Game is that relationship from a child’s perspective. It is also, paradoxically, not a grunt’s view of a war, as was the case with both Heinlein’s and Haldeman’s novels, but rather is about how the supreme commander of an interstellar war is created.

Orson Scott Card has not ignored the disconnect between a child’s desire to play at war and the brutal cost of killing, and the burden of ultimate responsibility. We primarily follow Ender and his classmates as they train to command Earth’s military in a genocidal war against a hostile alien threat, but the parallel story of his two siblings back on Earth compels equally. Each character in this novel is in a chess match of emotional and philosophical conflict with one another and their society. There are a few better hard science fiction stories, and a few better soft science fiction stories, but there are fewer science fiction stories as well constructed and emotionally satisfying as this one.

The 20th anniversary of the novel’s re-publication brought about this audiobook. It is regrettable that the cover art of this edition is as generic as it is because the folks at Audio Renaissance have quite literally have brought greatness to the text. They’ve included an introduction and a postscript read by Card himself, both of which place the novel and the audiobook in its context as well as enlightening us to the author’s method of its construction. Multiple readers lead by Stefan Rudnicki work perfectly to vocally illustrate each chapter, character and scene. Stefan Rudnicki, Harlan Ellison, Gabrielle De Cuir, David Birney and the rest of the readers have given us an audiobook perfectly rendered. In what is the pattern for the Enderverse novels adapted for Audio Renaissance readers trade off at the ends of chapters, and when two unplaced voices are unattributed – except by what they actually say – two actors engage in conversation. Multi voiced readings have never been better.

And so it is with great pleasure that we enter this Special 20th Anniversary edition of Ender’s Game as the first into the ranks of the SFFaudio Essential audiobooks.

Posted by Jesse Willis

Here at SFFAudio, we have considered several different ways to present what we think are the finest audiobooks out there. At one time we had a favorites list, then we considered rating each audiobook using a 5-star system. The SFFAudio Essential designation is what we landed upon. An audiobook earning a place on the SFFAudio Essential list is a five-star gem of an audiobook – a great place to start if you are new to science fiction and fantasy audio, and a necessary addition for collectors.

Review of The Moon Moth [AUDIO DRAMA] adapted from the novella by Jack Vance

SFFaudio Review

SFFaudio Essential The Moon Moth
By Jack Vance; adapted by George Zarr
Performed by a Full Cast
Duration: 73 minutes 22 seconds
Available at: http://www.scifi.com/set/playhouse/moth/
Producer: Seeing Ear Theater
Themes: Science Fiction / Mystery / Aliens / Identity / Sociology /

A tone-deaf detective pursues a singing assassin through an opera of blood in this classic satirical thriller by Jack Vance. On the planet Sirene everyone wears a mask according to his status — or strahk — in society. Communication is accomplished through singing accompanied by a plethora of instruments, each of which signifies a different emotional mood or is used to talk to a different social caste. The problem is, the assassin Angmark is a master of Sirenese customs and — like everyone else on Sirene — his face is hidden behind a mask. Our doddering ambassador-detective’s only hope: to learn to use his own mask — the lowly Moon Moth — before Angmark relieves him of a head to put it on.

“The Moon Moth” is one of the best short science fiction stories tackling ideas of alternative social systems. Most stories of this type are found in full length novels like Robert Silverberg‘s A Time Of Changes or Ursula K. Le Guin‘s The Left Hand Of Darkness, but what is so delightful about this story is how densely packed with excellence it truly is. “The Moon Moth” is whimsical story with a truly original alien culture, the tale is part social commentary, part social satire and an absolutely terrific variation on the locked room mystery all packed successfully into 73 minutes of goodness! David Garrison and the rest of the Seeing Ear Theater cast are hilarious and effective but the real kudos has to go to George Zarr who so skillfully adapted Jack Vance‘s 1961 short story to the audio drama form. And unbeleivably, this play is still available for free on the internet! Very highly recommended!

posted by Jesse Willis