The rich thematic parallels and the way some very plausible alien enemies and tech issues grounded the more fantastic elements.
The manager of the rig, because of her poignant backstory and power as a non-companion human lead.
Performance-wise, I loved the sild most.
The sild are an amazing menace, not super-beings or death-mechs, but a physically weak species that has found a couple of really potent technologies and perfected their use. They are a devestating army that regards seagulls as eldritch horrors.
Increasing the subtlety of the supernatural events or toning down the dad character's blockheaded stupidity.
I'd only listen to another of this author's works if I got a strong recommendation from a friend.
The kid's voice was the biggest earsore. Trying less hard to sound like an adorable child and taking a more naturalistic approach would have helped.
There were some good, spooky moments, which is really what I came here for. I just got weighed down by the burden of Implausibly Skeptical Dad. He manages to surplant the ghosts as the real antagonist of the story.
The "whose hand was I holding?" thing can be good, but it was really overused here.
Really it just comes down to poor story selection. In the Henry James story, it's funny and clever, but the ghostly element doesn't come into play until the final few sentences. The M R James story "Lost Hearts" is possibly his most overrated work ever.
Of course not! I love a good ghost story and will continue trying to find them. If anything, I feel cheated because the Henry James tale was barely a ghost story at all, more a mundane family drama with a little Boo notice tacked on the end.
It's hard to tell, since I kept waiting for the supernatural of the first story to manifest.
A good eleven twelfths of the Henry James tale on offer.
Lost Hearts is a pathetically transparent ghost story, with a blatantly obvious setup that all the characters are too dense to penetrate, and its resolution has nothing to do with the actions of the protagonist.
I haven't tried it in print form, but the reader brought an incredible richness to the experience. Aside from the excellent voice, Jeremy Northam worked it so you could feel the dry cold in every breath.
When the pole he definitely cut down and destroyed is back.
He has a rugged sharpness to his voice that fleshes out the atmosphere.
A Cold Post
The atmosphere here is thick enough to float rocks in. The setting of the story is wonderfully bleak and vivid. I also like that it makes use of a rather underutilized monster of nordic folklore.
I think if there was more true fear and paranoia, and less daily irritation. The hero spends most of the novel being worked up and pissed off, and not enough being truly afraid.
I'm not sure I'd like to visit his works again. If you've ever read the "How many male novelists does it take to change a light bulb?" series, he gives off a very strong vibe like that.
I think he delivered the cruel police duo with a very vivid voicing and small-minded suspiciousness.
Really, frustration was the biggest reaction. I nearly got halfway through it, but I kept having to stop. There were hints of horror, but mostly it was a very well-crafted literary delve into the feeling of being at the DMV on a bad day.
The author can evoke some good images, but I think he hits the "water imagery" too heavily here.
I'm a bit biased, because I went into this expecting a bit more ghost stories, tales of phantom ships and drowned men that walk and eerie lights at the head of an unnatural storm. If I encountered just a few more good sea-fairing horror tales, it would have richly improved my experience.
I enjoyed a couple of the offerings, so I'd go for something else by Marion Crawford, for example. Most of the tales were as enjoyable and memorable as a ration of hard tack without grog to wash it down.
The performance wasn't markedly bad, so much as it lacked much to make it special.
It's hard to pin down individual characters, but the offerings from Ambrose Beirce were as underwhelming as ever, and good standbyes like Saki and Poe left me joyless.
The world needs more nautical horror. A collection of ghost ships and sea monsters pains the genre with its absence.
I love David Tennant's reading, and I read this story because I enjoyed one of his other works.
I'm trying to find new authors to follow in speculative fiction.
I enjoyed the David Tennant in stereo at the ending.
Really, this would lose all the charm it has in a visual medium.
The monster just doesn't work. It's too hazy and generalized to have cohesive internal logic.
Classic ocean ghost.
The doctor, for his almost cynical certainty.
I haven't listened to any other works read by him.
The spook factor here was delightful and chilling, in the classic, good old british ghost story way. I liked the odd familiarity developed by the crew with the patterns of the apparition. The opening periods were just delightfully familiar in their Jamesian comedy.
I wanted a nice spooky sea-faring yarn. This delivers.
I absolutely love Incursion stories, where some other realm is percolating into the world we know and love. This premise is what really hooked me.
The subject of another cosmos leaking into ours was the best bit, although David Tennant's spine-chilling loin-warming brogue is a close second.
The "Stop shouting my name!" scene at the fountain.
This is the kind of book that was so gushingly intense and fun I had to pause it to recover my breath and savor the experience.
The eldritch and un-knowable atmosphere of this story was great.
Better reasoning for the Daleks keeping humans alive, and more plausible systems of control for the Dalek empire & PR spin would have helped.
My disappointments are balanced between the lack of rational for keeping humans alive (without spoilers, I just need to say that the Sunlight Worlds are needless for the long-term goal the achieved and a convoluted way of reaching it, even by dalek standards) and just how little effort was made to get the dystopia to work.
The narration was really rich, but Nicholas Briggs's quality as a narrator was in inverse relation to his writing.
I would have cut out a lot of what I took for social commentary and attempts to show how naive and brainwashed people are to provide better looks at how the Daleks keep the a grip on their Foundation.
The alien race introduced here is rather well-done, and the scenes with the reporter were nicely chilling. I just wish that this Dalek's-pretending-to-be-Nice scenario made more sense.
I'm not sure I trust Barry Letts with doctor who material. Really, I can accept a lot of so-soft-its-runny scifi from Doctor Who, but a scientifically established afterlife? That's too much for me.
I'm going to think about giving the radio collections a miss. There just wasn't enough visual idea of the Fiends for them to engage me and bring me into the setting. I wanted to get them in my head.
The narration was not the problem here.
The woman with the shrill imitation-new-york accent.
This is a concept that just didn't play out well. I don't understand how the guy achieved bodily immortality, and what that meant in context. How did he get out of the wall?
And, really, doctor who with a proveable afterlife and pratical alchemical sorcery? Maybe somebody else might like this, but it was too much for me.
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