Lancaster, PA, United States | Member Since 2010
This book has the magical power to erase itself as you listen to it. A series of tedious action scenes tied together with a moldy string, it is Kussler at his worst. Okay, it's amusing to randomly open a history book and play "Truth or Dare" with your friends.... "What would have happened if?" But if this is what they'd come up with for this spot in history... I'd hunt for some friends with imagination. Look it's not the worst way I've ever wasted my time, which means it doesn't even hit that extreme. Pass on this one, eh?
Is it because these people way up there in the North of Europe have so many loooong nights? Is that why their novels are so dark and cold? This one is pure Nesbo. Which is to say... captivating to the point of kidnapping your attention away from the rest of life.
Now... this starts slowly... the way winter comes on, y'know? But all at once you're in and wandering around inside of Nesbo's full-gust imagination. And Gildart Jackson has a voice that seems to grab its air from an impending thunderstorm. Y'know... a sense of oncoming menace but always just faintly felt.
Liked this production and, didn't see the ending coming, yet it held together like nighttime blood pooled outside during Nesbo's Northern European winters.
Okay, Steven Weber's turned this Coben into a major production. There is an entire ensemble cast, each with a personal presence. Even if this wasn't Myron Bolitar at his best, the novel's worth every moment of Weber-listening-time.
BUT WAIT... this search for Myron's brother is Myron Bolitar at his best. Open an antique RR pocket watch... Those parts don't work as well together as Myron, his parents, Big Cindy, Win and Esperanza mesh again in Live Wire...
Okay, I'm a Coben and Bolitar groupie... But I've listened to eight of Myron's adventures, never read one. Why do that when Steven Weber can imagine the characters far better than me?
What a tiresome…
Imagine living next door to a beginning bagpipe student. There will not be a happy ending, right? Or middle, or probably not a beginning worth enduring. Hey I paid for this Charity Point thing and kept listening , hoping it'd become minutely as fascinating as Lawrence Sander's Archie McNally. But nooooooooo. It just kept on droning through a tedious plot more improbable than a Victoria's Secret angel looking for love at a soup kitchen.
Yeah, I get it that William Tappley writes the ideas of authors who have ideas in a number of collaborations. Some of that sort of "collaborative" work drones like the noise from a freshman bagpiper's nozzles and bladder. I guess it was a combined loss of ideas and lack of creative discipline that caused this novel to annoy me.
Tapply may be good at ghost writing, here his corpus is less substantial than a ghost.
Avoid this thing even though Stephen Hoye works hard to sell it.
See, Mark Russinovich is the ubber-geek who can speak colloquial English.
You know like meeting a space alien who talks like he came from Philly. He can explain so that I can suddenly mutter… "Good God! We're all in a LOT of trouble."
Here he digs into the space where computer security meets VERY VERY VERY Big Money. And he explains exactly what opportunity (or threat) lurks between the left scissor edge of computer engineering and the right edge of international financial transaction.
First I'm warning you NOT TO LISTEN TO THIS BOOK… first. Go get Russinovich's "Zero Day" first. Because you probably will after you hear this novel. And since it's a continuing ensemble cast, hey… why not enjoy all of the feelings and back-stories as they grow through Mark's second novel, "Trojan Horse" (and his best), and then come here to Rogue Code?
Johnny Heller does a terrific job. I was disappointed though with the Jeff Aiken (hero) - Darlyl Haugen (demoted heroine) relationship's direction. They were so much more interesting twin parts of whole lead character in Zero Day and Trojan Horse. The altered path seemed like some sort of personality-ectomy. Hope the partnership gets renewed.
Oh yeah, that teaser up above… The Steven-King-terror-inducing-talent of Mark Russinovich is that what his stories tell-about will escape from his cloud and will probably happen quite soon, maybe tomorrow. YIPES!
The Boyfriend is derivative of Thomas Perry.
I ask artists this question, "How much of a final work is created in the process as opposed to whatever concept you brought to the project at the start". Their average answer, "A whole bunch. The inmates take over the asylum early on."
Ever played the game, "Imagine how history would have changed if…. (fill in the tiny change… like someone jostled John Wilkes Booth shooting hand). Imagine the options… the paths… And that's what happens to an artist during process… Forking pathways are discovered and one is chosen over the other.
And yet… What if the author-artist could go back to that pathway to make the other choice? The Boyfriend exists in a universe that's parallel to other Perry stories. In it he takes one of his most complex bad-guy's essence and bends his presence to a totally different world.
Perry is such a talented story teller, and Roberstson Dean a gripping audio artist, that even though you think you've been this way before… you'll notice that both the scenery and destination become way, way different.
Perry's one of the best.
Is it a murder mystery? How'zabout a "what are those weird aliens up to anyway" mystery? Or no… perhaps its a dig into a "BIG QUESTION" or two? Well, like a swell stew, this Sawyer novel – it be all a dem tings.
But do you think of stew AND haute cuisine? Not so much. But it's still good.
Look, you ever get a tune stuck in your head? Well Robert Sawyer writes his tales like the insidiously talented folks who compose pesky head-sticking music. He stays with you. And you stay right back.
Illegal Alien is about murder-solving, mysterious intentions, and even a big question Which is driven by anatomical-deterimination of all things. It'll stick in your head. Joe Barrett is in the top league of audio artists. He stays there throughout Illegal Alien.
I liked it. I'm gonna' go now and shop for another Sawyer listen. Bye...
Harlan Coben is a powerful craftsman. Is he an artist? Hmmmm… Not here, no - and if you're looking for insightful literature, better go download some Tolstoy, Fitzgerald, or Wolfe. Nope, no great questions asked or answered. No cultural depths plumbed.
Instead Coben holds your attention the way a dark suit grabs cat hair. The heroin is, of course, a woman sodden with an 18 year old unrequited love. Why is it that heroines are love sodden and heros guilt ridden? It's the nature of commercial mystery clichés, eh? Stereotypes that sell.
Anywayzzz…. January LaVoy is brand new on my list of smoking audio actresses. She allowed me to suspend disbelief in the parade of coincidences that made twin plots intertwine - both as tightly - yet unnaturally in their contrivance, - as a cheerleader's plaited pig tails.
The ending… so important to every one of these things… was acceptable, tied up the strands that skipped their traces, and worked well enough for this genre. Look, I enjoyed Missing You. I recommend it to sedate you through a tough gym workout, or a boring commute. I'll keep buying Coben's books.
Nuff said, right?
Adequate characters, and the writer had craft BUT, this "story" stinks! I have never been so disappointed with the way a writer ended a plot. He betrays the reader with one narrative, then inserts an incongruous, entirely different storyline that assumes the reader is a dolt! Margolin appears to have contempt for his readers, assuming we accept any twaddle that let's him write, "The End" when it's obvious that he's grown tired of the entire thing.
I worried about getting this book after the way Margolin's "Wild Justuce" fell apart at the end, but I enjoyed some of his ensemble enough to try "Ties That Bind". Boy am I sorry. Margolin's needs to become a ghost writer for someone who has plot ideas, his just evaporate in the end.
Don't buy this thing, even with George Guidal, it was - in the end - Un-saveable! Stinko!
Somewhere in the middle of “hunt For Red October it clicked. “Yoa!” I thought, “This is a new something… a genre… if not a new species, well at least a new breed.” So I read the next 16 (or was that 18?) Clancys… Until somewhere in “Shadow Warriors”, or perhaps “Search and Destroy” he lost his power to fly the class he created (and never recovered them in his own attempts at cyber-fiction).
“Trojan Horse” goes “CLICK!” Mark Russinovich has accomplished where Neil Stephenson and the aging Clancy failed. Issac Asimov argued that if science did not drive the plot, it was not "science" fiction, but fiction in drag. Clancy at his best did the same thing with his techno-fiction where a sort of electro/mechanical engineering drove the plot. Russinovich’s transformational technology-driver has done to Clancy’s breed what the internet has done to newspapers… This is a disruptive book.
While “Zero Day”, the first in this Jeff Aiken/Daryl Hagen series, was engrossing –Russnovich was experimenting with his powers. I enjoyed it, and recommend that you read or listen to it before starting this book since it explains the allusions to that story peppered through “Trojan Horse”. But while each of these books are VERY commercial and crammed-full with action (cinematic is the word that comes to mind), Russinovich is sucking on the cyber-pipe full-on here in “Trojan Horse”.
BTW, this is NOT a Jeff Aiken book. While it’s a partnership, Daryl Hagen is now the stronger member of this pair. I hope someone at Audible will fix that in the series description.
Johnny Heller does a fine, if not masterful, job of presenting this work even if his characters are incompletely nuanced. Still, I won’t do anything to pull all five stars away from “Trojan Horse”. It’s as masterful as “DaVinci” code in its story telling clout yet "cyber"-fiction in the Asimov sense.
This is a cross-over novel that every adventure/mystery lover can enjoy and the best adventure book I’ve listened to in years.
Maybe this was a first novel? Nope, this is what Abbott does all the time I guess. Anorexic characterization that's much fatter than the plot. If you believe any of this tale, hey… I've got a pair of bridges that are totally cheap… lemme know, K? It reminded me of the early summer blockbuster movies… Back in the 70s… The ones that were all shoot-em-up car chases. Fine for the times, but un-viewable today. This story wouldn't get green-lighted for cable TV.
I stopped listening three times, but finally,with nothing else on my iPod and a long gym workout to fill… it got finished with an ending that was unexpected as a baby's birth gender after a first trimester ultrasound.
Maybe this is aimed at prepubescent reading-challenged males? Actually I'm thinking that the interminable action scenes may have been assignments to the author in a creative writing class that he sort ran back to back without bothering to imagine a story for glue?
Phil Gigante made a buck here, probably deserved, not so much for his performance which is OK, but for his tenacity in reading "Collision".
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