This is an interesting change from the typical way a story is told, with a narrator describing what is going on and also performing the character dialogue.
In this version, it is entirely dialogue. There is no narration whatsoever. To support this, the story has been adapted slightly so that events that were described in the book from a narrator's point of view are written in as dialogue when possible, or described after the fact in a conversation.
Surprisingly, this doesn't negatively affect the impact of the scenes where these things are happening. I found the dialogue-based version of events to be even more evocative. There is a lot more dialogue with Col. Graff and his fellow battle school administrators, and they do much more exploration of Ender's motives, thoughts, and actions.
As someone who has previously read Ender's Game as a novel, I get the sense that this version of the story might be harder to follow for someone who is experiencing it for the first time. However, I find the cast performance adds more than it takes away. It is easier to feel empathy for Ender and the other characters in this version.
Overall, I found that as a prior reader of the novel, this was a completely new way to enjoy the story, and definitely worth the listen.
This was a really enjoyable read, much more so than I was expecting given its reputation for extraordinary length. You really get a picture for the human nature of the combatants in the military engagements, where they often find themselves wondering why they are fighting, and for whom, and whether the guy in the other uniform is really an enemy. You also get a sense for the civilian perspective on the wars, at least from the point of view of the aristocracy.
Neville Jason's narration is excellent, with a clear and precise diction that mostly carries a posh British accent, though he does the French language portions very well also. I did find his rendition of Denisov's W/R substitution quite comical. He sounded a bit like an aristocratic version of Elmer Fudd.
Davina Porter's narration is pretty good, though Tess starts with and retains a much more refined manner of speech than the other women who have been brought up in her same situation. These other women are narrated with a rustic rural sort of form of speech, while Tess (even before her association with Mr. Clare) has a gentle, refined way of speaking.
But the main thing that prompted me to write this review was that the pause between chapters is beyond unnecessarily long. Almost every time I would check to make sure my device hadn't stopped or gone dead for some reason. The pause is easily more than three times as long as the pause between chapters of any other book I have listened to. Given that this book has more than fifty chapters, you sort of get used to it, but it still tends to pull you out of the book when it happens.
The narrator pronounced the articles "a" and "an" like a drawn out "uhh" and "unnn" which I found difficult to ignore.
Overall the story was ok but I would have liked more of Tesla's own life, particularly in his later years, and less of the doings of his financiers, rivals, and the various governments who were interested in his work.
The best part about listening to this book at 3x speed in the Audible app is that it sounds like it is being narrated by Mayor Quimby from The Simpsons.
Overall this is pretty good. There isn't a hugely cohesive flow from one chapter to the next, but Jack Welch's style is open and friendly, so it is easy to shift gears.
The topics range from career advice, to how to manage teams, to business strategy, and work-life balance. Not everything will be applicable to all readers, but it is entertaining to listen to and overall quite well-written and well-narrated.
I have read the original books, and listened to the unabridged audiobook version (narrated by Rob Inglis), and while not necessarily better than the print version, this adaptation is phenomenal.
This version retains almost all of the original dialogue, with very few modifications. For example, almost all of the dialogue between the hobbits, Mr. Butterbur, and Strider in the inn in Bree is retained. It is edited for length by omitting certain lengthy side-plots such as the trek through the old forest and Tom Bombadil.
I gave it 4/5 stars for performance for two reasons. First, any scene involving the ring includes a sort of background resonance/feedback noise that I found to be rather unpleasant when listening in the car or with headphones. Second, the dramatic sequences are not described, they are performed (e.g. a battle sequence) so you hear swords clashing and shouts, but it is hard to tell what is going on. Any significant outcome is mentioned later by one of the characters, and this is the chief source of non-original dialogue in the adaptation.
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