ARTC Podcast does a Lovecraft Dramatization

SFFaudio Online Audio

ARTC PodcastThe Atlanta Radio Theater Company has added an audio adaptation of H.P. Lovecraft’s The Colour Out of Space to their podcast feed. This is an archive recording of their live performance done at the 2006
DragonCon in Atlanta, GA!

First published in 1927, in an issue of Amazing Stories, The Colour Out of Space is the tale of a Boston surveyor who discovers a horrific patch of land near Arkham, Mass. The area in question is completely devoid of all life!

Check out this shot from the performance, sharp eyed readers will spot Richard Hatch, the original Battlestar Galactica Apollo, sitting at the far left!

ARTC @ DragonCon 2006

Download the performance HERE, or subscribe to the feed:

http://artc.libsyn.com/rss

Review of Maps In A Mirror: The Short Fiction Of Orson Scott Card

SFFaudio Review

Maps In A Mirror: The Short Fiction Of Orson Scott CardMaps In A Mirror: The Short Fiction Of Orson Scott Card
By Orson Scott Card; Read by Various
4 Cassettes – Approx. 6 Hours [UNABRIDGED]
Publisher: Dove Audio
Published: 1999
ISBN: 0787121770
Themes: / Science Fiction / Fantasy / Crime / Elephants / Music / Art Theory / Utopia / Dystopia / War / Death /

Four cassettes, six hours, eight stories of Orson Scott Card’s polished prose. Included in this collection are some truly crackerjack stories and a couple that aren’t so hot:

The Elephants Of Posnan appeared in English for the first time in this collection. Originally published in Poland for a Polish Science Fiction magazine it is the tale of a human global die-off caused by an infertility crisis. This is something we’ve seen before in Science Fiction to be sure, but the addition of an elephantine theme and a Polish setting makes this one totally unpredictable. Card reads this himself and gives it an interesting introduction too.

Unaccompanied Sonata is perhaps the most fantastic story here. Set in a bizzare dystopia in which the purity of music can only be assured by the ignorance of its makers. This is a world that could have been inspired by Leo Tolstoy’s theory of art – a world in which imitation ensures art to be a failure. I have no idea if OSC had that in mind when he wrote it but it certainly fits. Read with passion by Efrem Zimbalist, Jr.

Freeway Games is the least SFFaudio related story in this set. It was first published in Novemeber 1979 in the Gallery magazine which at the time was competing with Playboy for quality short fiction. The original published title was “Hard Driver.” This is basically the story of perverted serial killer who while keeping his hands clean is actually as guilty as sin. It ranks in well alongside Lawrence Block’s late 1970s early 1980s slick magazine tales of demented psychos. Read to perfection by the incomparable Robert Forster.

Lost Boys is interesting in that the main character is someone named Orson Scott Card. My research indicates it is “semi-autobiographical” story, hopefully the fantastic elements are the “semi” part! Stefan Rudnicki, the producer of this audiobook read this tale with a heartfelt flush of sadness. This short story was later expanded into a full length novel which went on to great acclaim.

Quietus, was virtually opaque to me. The plot was something to do with our need to reconcile with death. I am given to understand it incorporates several Mormon themes. The style is surrealistic but even knowing this I couldn’t easily follow it let alone understand its thesis. First published in Omni’s August 1979 issue.

The Best Day was written under the pseudonym Dinah Kirkham. Card’s rumination of the elusive search for happiness. This story fled my brain as soon as it was finished. Read by William Windom.

Fat Farm is perhaps my favorite OSC short story. It isn’t the characters, I hate them. Instead it is the riveting plot that is the star here – this story deals with the philosophy of personal identity in the context of two science fictional technologies: 1. Cloning. 2. Memory uploading. If you can replace your imperfect body with a perfect one and keep on living what would give you pause? OSC’s Fat Farm will do the job. It also compares nicely to Robert J. Sawyer’s Shed Skin. Roddy McDowell’s reading is grumbly, growling and totalitarian. You’ll beleive he is all the characters in this one.

Ender’s Game. The original short story from 1977 shows the sparkling promise that would lead to the unquestionably great novel of the same name. This tale isn’t just an shorter version of the novel, there are a number of differences between the two texts. Reader Michael Gross does a fine job with it.

Posted by Jesse Willis

Review of The Red Panda Adventures – Season 1

SFFaudio Audiobook Review

Podiobooks Audio Drama: The Red Panda Adventures - Season OneThe Red Panda Adventures – Season One
By Gregg Taylor; Performed by a FULL CAST
12 MP3 Files – Approx. 5.5 Hours [AUDIO DRAMA]
Publisher: DecoderRingTheatre.com / Podiobooks.com
Published: 2005/2006
Themes: / Fantasy / Superheroes / Supervillains / 1930s / Toronto / Secret Identities / Hypnotism /

Flying Squirrel: “We could have two super-power’d loons on our hands.” -Episode 11: Duality

Masks, grapple-guns, static boots, retractable membranes, ring-radios? Check. Supervillains with names like The Golden Claw, The Electric Eel and Diablo? Check. Okay then, tune your podcatcher to ‘pure pulp’ and break out the hockey organ because The Red Panda Adventures – Season One is ready to glide into justice. This first 12 episode season is full of flying kung fu fists, mesmerizing hypnosis, snappy dialog and mystery. Most memorable for me are the characters and the dialogue. Plot lines are reminiscent of comic-book and radio serials from yesteryear but the parlance is all modernistic as filtered through a roaring-twenties speech pattern paradigm. Episode 2: Night Mission and Episode: 7 Red Panda Wanted Dead Or Alive stood-out because these episodes highlighted the interaction between the love-blind hero, Red Panda, and his adoring sidekick The Flying Squirrel. The Panda’s superpowers are a cross between those of The Green Hornet and The Shadow. He’s a master hypnotist, able to cloud the minds of villains. Other fun aspects are the introduction of other superheroes and superhero groups, in a way the whole show reminds me of animated version of The Tick if it were played slightly straighter.

The Red Panda Adventures – Season One is a super-fun diversion delivered in delicious half-hour doses. The only thing better than the production of this fab audio drama series is the vocal talent. I get endless kicks out of the sexual tension between the oblivious Red Panda and his pining sidekick/driver Kit Baxter. Their city, 1930s Toronto, is quieter than many other audio dramas, I hear less foley and fewer sound effects, I like that they aren’t obsessed with putting in the sound of footsteps in every scene – it usually isn’t necessary. Also nice is that from episode one of this series this show really works. This is probably because of the experience gained during the previous Red Panda incarnation (a six episode series set during WWII). Season Two is already underway and I look forward to devouring it too.

Posted by Jesse Willis

Review of American Gods by Neil Gaiman

SFFaudio Audiobook Review

Fantasy Audiobook - American Gods by Neil GaimanAmerican Gods
By Neil Gaiman, read by George Guidall
2 MP3-CD’s/20 hours [UNABRIDGED]
Publisher: Harper Audio
Published: 2001
ISBN: 060836253
Themes: / Fantasy / Modern fantasy / Mythology / Legend / Americana / Picaresque / Gods /

A storm is coming. From his prison cell, Shadow can feel it bearing down on him, but he has no idea how it shred his already tattered life and cast the pieces into realms both familiar and mythical.

Shadow’s journey across the real and imagined terrain of America is the gravitational mass around which the rest of the novel accretes. We follow him out of prison, to a portentous meeting with his eventual employer Mr. Wednesday, back to his home town, and beyond to a magical carousel in a bizarre roadside attraction, to a small Wisconsin town peopled by a hundred unique, quirky characters, down to little Egypt, across a barren Indian reservation, and even to the geometric center of the contiguous states. His discoveries of the languishing deities brought to this continent and abandoned by assimilating immigrants are our own, and the questions he faces about the nature of human faith and the fulfillment of ourselves in mystical sacrifices are questions we find ourselves struggling to answer.

But Shadow’s story is not the only one. The mercurial Mr. Wednesday also has a tale to tell, as do a half-dozen or so other deities, spirits, leprechauns, and phantasms. Their stories are tough, tender, tragic, uplifting, and ultimately doomed. But even they are not the full measure of this book. There are also newly-minted gods of television, computers, covert operations, and other creations of modern angst. They represent a malevolent opposition to the old gods, and the storm Shadow has foreseen is the clash between the old and new gods in a battle for the devotion of an attention-deficit populace.

American Gods is one of the great novels of modern fantasy, and lands just short of the fence as a great American novel. Much of its power is derived from its complexity: It is composed of religion, adventure, a small-town thriller, a road novel, history, con-games, Native American myth, early American legend, intimate portraits of immigrants finding their small way in a huge new country, and sprawling adventure across the entire face of America. Written by an imported Englishman, it offers both an outsider’s attention to quirky detail and a native’s casual acceptance of all that comprises this slow-simmered stew of a country. Gaiman’s prose is graceful, simple, and his pacing is slow enough to nurture our sympathy, yet brisk enough to remain consistently exciting.

George Guidall’s narration is also excellent. His portrayals are groaning, snippy, kvetching and distinct. He conjures a pantheon of note-perfect Eastern European accents for a group of little-known gods, a crisp con-man’s coarseness for Mr. Wednesday, a mischievous African charm for Anansi, and a quiet desperation for Shadow. The only misstep is Shadow’s wife Laura, whose voice seems too fawningly girlish for the part. The MP3 CD format is the best so far invented, and the sound quality is crisp. Maybe too crisp, as you can clearly hear the edges of many of the edits.

After the multi-threaded end of the story, there is an extended interview with Gaiman which provides a delightful look at the man and the origins of his story. While I found it fascinating to see how such a large collection of ideas coalesced into a single transcendent work, the interview also rubs off just a little of the luster. Overall, though, the entire production is a pleasure from the first ominous chapter to the last. It will make an enviable centerpiece to your audio fiction collection.

Posted by Kurt Dietz

Review of Dragons of the Dwarven Depths by Margaret Weis and Tracy Hickman

Science Fiction Audiobook Review

Fantasy Audiobook - Dragons of the Dwarven Depths by Margaret Weis and Tracy HickmanDragons of the Dwarven Depths: The Lost Chronicles, Volume I
By Margaret Weis and Tracy Hickman, read by Sandra Burr
13 CDs, 1 MP3 disc – 15 hrs [UNABRIDGED]
Publisher: Brilliance Audio
Published: 2006
ISBN: 9781423316107 (CDs), 9781423316121 (MP3 disc)
Themes: / Fantasy / Epic Fantasy / Heroic / Sword and Sorcery / Magic / Adventure /

In an untold story from the War of the Lance, the companions have saved the refugees of Pax Tharkas and led them to a hidden valley. For a time they are safe, but the forces of the Dragon Army are in pursuit.

This novel takes place after the first Dragonlance novel, Dragons of Autumn Twilight. The story starts with a large ensemble of characters already in place. Along with the refugees that these characters have saved, they must choose a path for escape. The Draconian army is still strong and hungry for vengeance against the rebels. The best path for the group is to send a small group to the underground dwarven kingdom of Thorbardin, where they hope to find shelter for the winter for their party, and also find the legendary Hammer of Kharas.

As a reviewer it’s important to tell you that this is my absolute first exposure to the Dragonlance universe. This book is very much a sequel of sorts. Although it’s the first book of a trilogy, it’s filling in the untold tales of Dragonlance’s first trilogy.

This book is not a good jumping-on point to the series. It took effort to pay attention through the early parts of the book, because characters are introduced in quick succession. After you get to know the characters (and they separate into smaller groups) the listening becomes much easier.

Looking at the cover, it would be foolish to expect more than a Tolkienesque fantasy. And that’s exactly what you get. An adventure with a pantheon of familiar fantasy creatures as well as humans. The characters all had distinct traits and their own motivation. The evil characters are just that – evil – yet interesting. But more interesting was that many of the characters on the side of good came in various shades of gray.

My favorite element of the audiobook was listening to the excellent performance of Sandra Burr. She has a pleasant narrative voice. She creates many unique voices for the menagerie of characters. Not only does she have to do the dialog of mostly males, but many are not even human. Her voice characterizations helps the listener sort out all the different inhabitants of the novel.

The writing of this book had to present some difficulties for the authors. The characters all have a past and future in other books, so there are many restrictions that would have to be adhered to for the sake of consistency and continuity. As a new reader to the series I did not get a sense that the characters were being “shoe horned” into a contrived story. In the end, the story kept me engaged, and for fans of the Dragonlance books, I’m sure it’s a welcome addition.

Review of The Dark Worlds Of H.P. Lovecraft, Volume 4 by H.P. Lovecraft

Horror Audiobooks - The Dark Worlds Of H.P. Lovecraft Volume 4 - The Rats In The Walls, The Shunned House, The Music Of Eric ZahnThe Dark Worlds Of H.P. Lovecraft Volume 4: The Rats In The Walls, The Shunned House, The Music Of Eric Zann
By H.P. Lovecraft; Read by Wayne June
3 CDs – 2 Hours 41 Minutes [UNABRIDGED]
Publisher: Audio Realms
Published: 2006
ISBN: 1897304242
Themes: / Fantasy / Horror / Music / Atavistic Guilt / Cannibalism / Mushrooms /

Curse you, Thornton, I’ll teach you to faint at what my family do! … ‘Sblood, thou stinkard, I’ll learn ye how to gust … wolde ye swynke me thilke wys?… Magna Mater! Magna Mater!… Atys… Dia ad aghaidh’s ad aodaun… agus bas dunarch ort! Dhonas ‘s dholas ort, agus leat-sa!… Ungl unl… rrlh … chchch…

This collection from Audio Realms is the fourth in a series, and the second to be reviewed. There are three CDs and three complete and unabridged stories here, first published between 1922 and 1937. The tales are archaically constructed. If you sat down and try to read one of the paragraph-long sentences that Lovecraft wrote you’d probably begin to wonder why it actually works. Then if you considered that this is the guy who makes curious genealogists or amateur historians the center of his horror stories it becomes almost baffling how he manages to keep our attention at all. There is no doubt though: Lovecraft has our attention. I think I am on safe ground in calling him, at the very least, one of the true giants of Horror fiction. Here are three stories that will prove it…

The Rats In The Walls
The Delapore family, late of Massachusetts, has returned to its ancestral family estate in rural England. Their genealogical and historical research reveals that their ancestors have maintained a strange atavistic responsibility to the land and the ruin upon which their keep was built. Woe be to the friendly neighbors of the long-away Delapores, for the Delapore blood runs thick in their veins and loudly thrums with ancestral duty, as loudly perhaps as the “venimous slithering of ravenous rats in the walls.”

The Shunned House
The house of this story is reported to have been based on a couple of real houses that Lovecraft actually visited. One in particular in Providence, RI at #135 Benefit Street, as in the story, is supposed to be the main inspiration. This story also uses local Providence folklore and history for added depth, but I suspect that if even one fifth of the rest of this story were true we’d have to nuke Rhode Island from orbit, just to be sure. I think some people consider this to be one of Lovecraft’s lesser tales but this one really got me. I am probably a bit more mycophobic than your average person, though. If you don’t like mushrooms, or if you’re even a little afraid of them, listen to this one with the lights on.

The Music Of Eric Zann
One of the most frequently adapted of Lovecraftian tales. The narrator, a near-vagrant, recalls a fellow lodger of a mouldering lodging house in a mysterious French city. Erich Zann is being stalked by a nameless horror that comes to him at night. Only the eerie music he produced was not nearly as haunting as horror that chased him. First published in 1922, still powerful.

SFFaudio Essential narrator Wayne June is back! His grave rumbling voice and his letter perfect pacing makes each of these three tales a shuddersome experience. But I do have a one problem with this entry in the terrific Dark Worlds Of H.P. Lovecraft series. It isn’t the production; these CDs sound awesome. Wayne June’s reading of these three stories is absolutely definitive. His unaccompanied performance is utterly chilling – this series truly must be heard. It isn’t the packaging that is the problem, with original art by Allen K. The images on this series are reminiscent of the art found within the pages of the pulps in which these stories were first published. No, my problem isn’t with any of these things. My problem is with choice to censor a couple of lines of the text in The Rats In The Walls. It makes me want to cry. Maybe Lovecraft was indeed being a racist when he wrote the offending words (in naming Delacore’s cat “Nigger-man”), but I’m a purist. Instead of calling Delacore’s cat “Nigger-man” Audio Realms has changed it to “Blackman.” If the text is good enough to be republished year after year ought we not preserve it as it stands, racism and all? True horror is by its very nature transgressive, but I want all the horror in my life to be in fiction. A cannibalistic incestuous serial murderer of homeless children is scary in fiction but as long as its fiction I’m up for it. Keep all the racist crazy-talk in the fiction, I say, because that is where it all belongs.

Posted by Jesse Willis