revenge – Page 5

LibriVox: The Beetle by Richard Marsh

SFFaudio Online Audio

LibriVox a panel from The League Of Extraordinary Gentlemen Attentive readers of Alan Moore’s The League Of Extraordinary Gentlemen may have noted this panel…

…according to Jess Nevins, of The Fourth Rail, it depicts a “giant beetle in [a] vacuum tube.” and asserts that it

“is the Beetle, from Richard Marsh’s The Beetle (1897). In that novel, a shapechanging Egyptian princess, who can take the form of a giant, malign beetle, a beautiful androgyne, and an old woman or man, pursues a vendetta against a British M.P.”

Prior to the release of The Beetle as a LibriVox audiobook I hadn’t even heard of it. But a little online research indicates that The Beetle came out the same year as Bram Stoker’s Dracula and initially outsold it! How did I not hear of this book before?

The Beetle
By Richard Marsh; Read by various readers
48 Zipped MP3 Files or Podcast – Approx. 11 Hours 56 Minutes [UNABRIDGED]
Publisher: LibriVox.org
Published: April 24, 2009
A story about a mysterious oriental figure who pursues a British politician to London, where he wreaks havoc with his powers of hypnosis and shape-shifting, Marsh’s novel is of a piece with other sensational turn-of-the-century fictions such as Stoker’s Dracula, George du Maurier’s Trilby, and Sax Rohmer’s Fu Manchu novels. Like Dracula and many of the sensation novels pioneered by Wilkie Collins and others in the 1860s, The Beetle is narrated from the perspectives of multiple characters, a technique used in many late nineteenth-century novels (those of Wilkie Collins and Stoker, for example) to create suspense.

Podcast feed:

http://librivox.org/bookfeeds/the-beetle-by-richard-marsh.xml

iTunes 1-Click |SUBSCRIBE|

Posted by Jesse Willis

Uvula Audio: Justice Inc. by Paul Ernst

SFFaudio Online Audio

James J. Campanella, has begun a new pulp fiction audiobook beginning in his podcast this week. Says Jim:

This week Uvula Audio premieres Justice, Inc. by Paul Ernst. This is the introductory book in the 1940’s pulp serial about Richard Benson “The Avenger.” Benson was a globe-trotting adventurer who made millions all over the world in risky and dangerous ventures. When he finally decides to settle down and retire, he loses his wife and daughter in a mysterious tragedy aboard an airliner where they disappear mid-flight. Benson goes mad and ends up in an institution. When he is released he has undergone several physical changes from the shock including his hair turning white and his face becoming an equally deathly pallor. From that day forward Benson vows vengeance upon the people who caused his tragic loss. This is a dark heroic story which reminds you of Doc Savage and yet is much more sober in tone. Some people have suggested that if Doc Savage was the basis of Superman, then Benson is very probably the basis of Batman and his vigilante justice. It was always made clear that Doc worked with the police – although Benson respects the police, it is always made clear that he does not feel they can do the job of justice as well as he can because their hands are tied by the system … sound familiar?

Yes it does! Here is part 1 |MP3| – the rest, when it releases, can be found at UvulaAudio.com

Justice Inc.
By Paul Ernst; James Campanella
Podcast – [UNABRIDGED]
Podcaster: Uvula Audio Bookcast
Podcast: March 2009 –

Podcast feed:

http://www.uvulaaudio.com/Books/Books.xml

Posted by Jesse Willis

Review of The Graveyard Book by Neil Gaiman

SFFaudio Review

The Graveyard Book
By Neil Gaiman; Read by Neil Gaiman
Audible Download – Approx. 8 Hours[UNABRIDGED]
Publisher: Harper Audio
Published: 2008
Themes: / Fantasy / Ghosts / Childhood / Revenge / Parenting / Afterlife / Humor / YA /

In a few words: Not as disturbing as Coraline (which is… a bit) and every ounce as entertaining as I hoped.

Now, details: The Graveyard Book is Neil Gaiman’s latest YA novel. The story is about Nobody Owens, a young boy who starts the novel as a toddler that ends up in a graveyard late at night, all by himself. I’ll let Gaiman tell you how that happens, because the journey is all the fun here. Nobody Owens grows up, and Gaiman’s ghosts do all the parenting.

Again, Gaiman manages to be both sinister and funny at the same time, like he’s telling you the worst thing you’ve ever heard, but with a smile and a wink. Here’s the first lines of Chapter 1:

There was a hand in the darkness, and it held a knife. The knife had a handle of polished black gold, and a blade finer and sharper than any razor. If it sliced you, you may not even know you had been cut. Not immediately.

You’d think what follows would be a bit grisly, and I suppose it is, but it’s all so fantastic that I smiled through most of that chapter, with the sort of glow I get around Halloween. A pair of ghosts (the Owens’s) raising a live boy, that boy growing up and learning his letters off gravestones and his life’s philosophy from the perspective of dead but well-meaning people; well, it’s just a great idea, and it’s perfectly presented by Gaiman. My kids love it too. This is the kind of book that will be revisited in my house often. In addition, I’d say that if you have a Harry Potter fan on your Christmas list, this book might be just the right fit, and it has the added bonus of introducing him or her to the likes of Neil Gaiman, which in turn could open that fan up to the rest of the world of books as well.

Gaiman also narrates, and like I’ve said elsewhere, he’s one of the few authors I’ve heard that could make a comfortable living as an audiobook narrator. I can’t imagine this audiobook being read by someone else, and I’m very happy that it isn’t.

Edited to add the SFFaudio Essential, which was forgotten by the reviewer. He has been sacked.

Posted by Scott D. Danielson

A Bite of Stars, a Slug of Time, and Thou has Aye and Gomorrah by Samuel R. Delany

SFFaudio Online Audio

The second series of A Bite of Stars, a Slug of Time, and Thou is underway, and the podcast radio show (on Resonance FM 104.4 FM in London, U.K.) has out-done itself by recording a terrific and moving reading of Aye and Gomorrah by Samuel R. Delany. Victoria de Rijke joins Mark Sinker and Elisha Sessions to talk about the story and Delany in general. This is insightful listening about one of the most well written and unusual stories in all of Science Fiction.

Episode 11 – Aye, and Gomorrah
By Samuel R. Delany; Read by Elisha Sessions
Podcast – 1 Hour [UNABRIDGED]
Podcaster: A Bite Of Stars, A Slug Of Time, And Thou
Podcast: September 23rd, 2008
Winner of the 1967 Nebula Award for best short story. First in Harlan Ellison’s seminal 1967 anthology, Dangerous Visions.It takes place in a world where astronauts, known as Spacers, are neutered before puberty to avoid the effects of space radiation on gametes. They are fetishized by a subculture of ‘frelks’, those attracted by the Spacers’ unattainability and unarousability (‘free-fall-sexual-displacement complex’). The mischief-loving Spacers exploit this for amusement and money — and possibly out of loneliness and a desire to recapture their lost sexuality. The story tells of a Spacer’s poignant meeting with a female frelk.

The previous show presents a J.G. Ballard short story, a tough one, not quite as easily accessible (which is saying something)…

Episode 10 – Track 12
By J.G. Ballard; Read by Elisha Sessions
Podcast – 1 Hour [UNABRIDGED?]
Podcaster: A Bite Of Stars, A Slug Of Time, And Thou
Podcast: September 16th, 2008
A Science Fiction short story about electromusic? Yup. A retelling of Poe’s The Cask Of Amontillado? Very likely. Fully comprehensible? Maybe. Published in a 1958 issue of New Worlds.

And, the first show, of the second series, has a classic Robert Sheckley tale, only 5 pages long, but also a massive epic [I just wish there wasn’t any background music or SFX during the reading]…

Episode 09 – Zirn Left Unguarded, The Jenghik Palace in Flames, Jon Westerley Dead
By Robert Sheckley; Read by Elisha Sessions
Podcast – 1 Hour [UNABRIDGED?]
Podcaster: A Bite Of Stars, A Slug Of Time, And Thou
Podcast: September 10th, 2008
“It’s got swords, vast space battles and God’s receptionist.”

The one bad thing about this podcast (other than the lack of title and author name at the beginning of the story) is there are no direct links available (for hotlinking), you’ll have click through or subscribe to the podcast to get the files – which likely means about ~~75%~~ 60% of the people who listen to podcasts via direct links won’t get to hear it. Slug Of Time guys, it’s time to fix that!

Here’s the podcast feed for the few of you who know how to use it:

http://freakytrigger.co.uk/slugoftime-podcast/feed/

Posted by Jesse Willis

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. 1 SFFaudio 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

Review of Conan The Barbarian Movie Adaptation LP

SFFaudio Audiobook Review

Conan The Barbarian
Based on the Motion Picture directed by John Milius; Performed by a FULL CAST
33 1/3 RPM LP – Approx. 43 minutes [AUDIO DRAMA]
Publisher: Power Records
Published: 1982 (Out Of Print)
Product #: 1134
Themes: / Fantasy / Revenge / Battle / Mythology / Gods / Snakes /

“I was born on the battlefield! The first sounds I
heard were the screams of dying men!”

It took almost a half of century for Robert E. Howard’s legendary thief, warrior, barbarian and eventual King to debut on the silver screen. In the fifty or so years prior to the 1982 theatrical release of Conan The Barbarian, and against all odds, Conan had clutched fate by its throat and demanded success in practically every media it was translated into. Novels, magazines, newspaper syndication and comics, they were all conquered by this sword-wielding barbarian. These conquest continually garnished him a growing legion of loyal followers. So by Conan’s God Crom, it only made sense for Hollywood to be this fantasy character’s next path to tread under his sandaled feet.

Ridley Scott… Oliver Stone… Many talented directors attempted to bring “Conan The Barbarian” to theaters before writer/director John Milius’ inspired script finally got it right and brought the project to fruition. John’s vision, which some critics called “horribly violent” and “sexist”, captured the true lifeblood and essence of the Hyborian Age and all its brutality and sinister ways. Directed on location in Spain for Universal Pictures, it starred world renowned bodybuilder Arnold Schwarzenegger as Conan of Cimmeria and Shakespearean actor James Earl Jones as the dreaded snake cult leader Thulsa Doom.

As always, making a motion picture about any character with a large fanbase creates controversy, and Conan The Barbarian was no different. Many fans questioned most of the inexperienced cast and their acting ability. Arnold Schwarzenegger was a world champion bodybuilder. Valeria, played by Sandahl Bergman, was a professional dancer. Even the director’s surfing partner took on the role of Subotai. Overwhelmingly, other than James Earl Jones, the cast was perceived as great lot of physical specimens rather than accomplished actors. Confusion also lingered among purists regarding Milius’ choice to retell Conan’s origin, which somewhat contrasted with the purist understanding of the barbarian’s earlier years. But other fans defended the retelling, arguing that creator Robert E. Howard never truly fleshed out Conan’s childhood, only briefly touched upon it. Moreover, they were quite pleased that Milius honored the legacy of Conan by sampling script ideas from many of Conan’s original tales like “The Tower of the Elephant” and “The Thing in the Crypt”.

Whichever side fans took, most couldn’t help not to revel in the sure beauty of the film… especially its Fantasy panting-like cinematography, awe inspiring original score and its seriousness in tone (something sorely missing in the later and utterly inferior sequel.) So, like all forms of media before it, the film Conan The Barbarian was a success and is now considered a classic among fans of the sword & sorcery genre. Conan was once again triumphant.

That same year, Power Records released the story of “Conan The Barbarian” which was surprisingly good among movie adaptation albums of its time. Known more for creating stories for adolescents, it was really quite astonishing to see Power Records adapt a “R” rated film, gloriously filled with masses of graphic violence, explicit nudity and even an orgy! The adaptation did exclude the “worst” parts of the film of course, but most mothers I know would balk upon their children listening to lines like “The last image I saw was my parent’s heads on a pair of Vanir pikes!” This adaptation was obviously made for young adults.

A whole new cast of actors were used, and the actors chosen for Conan, Subotai and The Wizard were an excellent choice. Conan is more intelligent than he appeared in the film, in the vein of the original Robert E. Howard writings. Actually, the original film script called for Conan to have more dialogue and narrate his own story rather than Mako’s ‘The Wizard’ doing the chronicling. But due to Schwarzenegger’s thick accent, much of Conan’s lines were trimmed down and/or removed in trade of Arnold’s powerful visual presence, which is where a problem lies. I actually had trouble appreciating this adaptation at first. Being a great fan of the film, I had the original actor’s voices and their dialogue (or Conan’s lack thereof) imprinted in my mind so deeply, it was hard to listen with a fresh perspective. Challenging yourself to give it a second “go around” is where the reward lies!

Conan narrating his tale is not the only difference between the adaptation and the actual film. Though fans of the film will be pleased to know that practically all of the story differences you hear were actually in the original John Milius script, before they were edited for various creative and/or monetary reasons. Some differences are subtle, like Thulsa Doom’s high priests are named Yaro and Rexor (rather than the familiar Rexor and Thorgrim). Others are larger events, like when Conan and Subotai enter the cities of Zamora looking to plunder the riches of the snake tower. While traveling through the filthy city of Shadizar, the script & adaptation details an extra scene of Conan and Subotai witnessing a snake cult procession moving through the streets. This is where Conan first hears the cursed chant of his nemesis Thulsa Doom since his parent slaying so long ago. He also gets his first glance of the haunting Princess he would later steal for King Osric, as she calls out to Conan from her platform, commanding him to “throw down his sword” in the name of Set. It’s a great scene.

My only gripe with the record adaptation is I wish it featured the film’s original score. While the orchestration Power Records uses is vast and surprisingly well done, it’s hard to stand against the classic work of composer Basil Poledouris. Though, with their excellent cast and matching production values, this can be easily overlooked. Especially when listening to the “new” dialog and scenes ultimately left on the cutting room floor. As a fan of all things Conan and especially the films, it creates quite a thrill and leaves you slightly imagining… what might have been.

posted by Akim Bischoff