I wanted to give this a shot. The idea is that there is a new "science" of attraction, but as the descriptions progressed, the categories really fall into levels of insecurity and selfishness. The book really hits a stride when it starts focusing on the insecure type as being the one who could most benefit from the ideas, but it starts wearing thin when you think of insecure people looking for love as a target market, and starts seeming almost predatory.
Walter Dixon's performance is quite good, but the material just does not sit well with me.
Discovering the elegant and clever ways in which the author ties the concepts of game-world into the experiences of the characters as a kind of evolving mystery.
The undead girl/love interest.
You'll Never Respawn Again.
Yes. It's excellent, free, and more Neil Gaiman.
The ending, which I shall not give away.
Yes, most notably The Graveyard Book. I have nobody that I would rather have read Gaiman than Neil Himself.
No, but that's not really my thing. It's an excellent story.
I've only seen Jenny Lawson's writing on her website. This book, being read by her, adds a certain amount of delightful weirdness that is compelling and wry.
The Bedwetter (Sarah Silverman) is about as close as I have in my comparison arsenal.
Hers, of course. Though her father is a close second.
Not really. It's well-digestible in chapters, which fits my listening style quite well.
In the end, there is a more touching and personal experience than I expected. It's nicely done.
No. The book is classic, but Ray Bradbury's narration is unfortunately dull and mumbling and difficult to listen to.
Discovering that I had the ability to speed up the narration a bit.
If I had my choice, James Marsters.
Almost unlistenable, unfortunately.
I would very much like to find this narrated by a professional actor/narrator. Nothing against Mr. Bradbury, but at the time of this recording, narration was not his strong suit.
For me, the lovely voice of Ralph Lister is one that I want to immerse myself in to pick up the subtle nuances of the working-man London accent, as opposed to the BBC-sterile voices that I usually get exposed to.
This one was pretty unique in its presentation. It reminded me of a Brit cop show (like Cracker), more reality-based, with the supernormal elements being illustrated as possibly just superstitious crap. Really well done.
The voice. Compelling and believable characterizations.
This Time Tomorrow, You Will Be Dead.
Based solely on this novel, probably not-- it's not really the style of story that binds me. It's a perfectly good story, particularly if you like more "political" intrigue.
It's not my story to change. It would be presumptive of me to suggest changes. My personal tastes lead more toward action and horror. This seemed to be more oriented toward a coming-of-age girl story. Perfectly fine for what it is, but not my front choice.
Probably the protagonist. It's mostly a POV piece.
No more than "Hunger Games" or "Twilight". And cast some as-yet-unknown-but-talented actors.
I read the book a while ago, so this was a revisitation. I've not before listened to a reading of Neil's work other than by Neil himself, so it was a bit of a change. I was not at all disappointed.
I don't really know of anything comparable. I hate the idea of comparing books like that-- it's unfair to both author and reader.
It's a modern-day fantasy novel where the fantasy parts are only just over the edge of familiarity. It's hard territory to write in, which is part of the Magic of the Gaiman.
No one favorite. Many favorites. So amazingly visual.
Wanted to, in that the story is compelling and wonderfully escapist, yes. Did not, because things like bathroom breaks and life in general kind of make that unrealistic.
George Guidall, the narrator, does a quite good and understated job in differentiating the characters. Wōden sounded to me like a dead ringer for Sir Anthony Hopkins, so I kept seeing him in the role, which was marvelous.
I'm a fan of Christopher Moore ever since the "Gospel According to Biff", though this is the first audiobook version I've listened to.
The characters are flawed in some interesting ways. A bit cartoony, but if you buy into that, it's solid.
Roberto, the Fruit Bat. Or Vincent. Or both at the same time. :)
It's a fine name.
Oliver Wyman's voice is not the same as my internal voice when I'm reading, which threw me off for the first several chapters. That's my own personal jarring, YMMV.
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