Moline, IL United States | Member Since 2012
Reading this book -- you know, with glasses and lights on and everything -- would be fantastic fun. Listening to it was agonizing. I would've preferred Steven Hawking's "voice" to Julia Farhat's. And I just hate to say harsh things about people who have worked so hard.
The protagonist was vividly drawn and had a hilariously fresh, alluringly feminine style. Underwood did a great job telling the story from a feminine perspective -- I didn't check to see that he was a dude until the book was over. Then I about fell in a heap from shock.
The narrator was obsessed with uttering each sound for every word, as though she were an advanced yet non-natvie English speaker working diligently to cultivate a precise, academic California accent. It was much more a cue-card reading than a bring-it-to-life performance. She also sounded congested for much of the book. I'm sure she has much stronger performances ahead of her.
My pick for the star would be the amazingly attractive model who posed for the cover art. Zowie!! Heck, let's hope that's Julia Farhat.
Stephen Briggs is a standout narrator, as Discworld listeners already know. He (along with Nigel Planer) is as much a part of the series as the characters, much like Jim Dale is for the Harry Potter books or James Marsters is for the Dresden Files. And Terry Pratchett is a singularly gifted writer: nimble with stories, pointed with social relevance, creative and vivid with his fantasy worlds.
But there is a feel to this book that's similar to all the post-climax scenes in Star Wars movies or to all the post-climax moments in Peter Jackson's Lord of the Rings movies. This feels more about wrapping up relationships and bringing some kinds of closure to the Discworld than it does like an addition to the magnificent multi-volume romp that life in the Discworld has been so far. And that's perfectly understandable: Pratchett's career is winding to a close, and so, I guess, should the series. But there is an unaccustomed tinge of melancholy permeating the typically fine story that didn't feel right.
It's always sad to say good-bye.
There isn't a lot of substance here, but there is so much style you won't miss it. If you were alive enough during the '80s to watch movies and play video games, you will dig this self-indulgent romp. It is every bit as engaging as the best gaming you've done -- whether D&D or video or MMORPG -- and just about as valuable. But who cares when you're having this much fun!
This was a vividly told and engaging story. Not since Robert Silverberg's mid-'70s Up the Line has time travel been so meticulously explored and the paradoxes so deftly treated. Avoiding spoilers is difficult, but the relationships among the characters are surprising almost every time, and the plot is twistier than one of those new compact fluorescent lightbulbs.
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