Review of Dark Adventure Audio Theatre: The Shadow Over Innsmouth

SFFaudio Review

SFFaudio EssentialThe Shadow over Innsmouth cover artDark Adventure Radio Theatre: H.P. Lovecraft’s The Shadow Over Innsmouth
Adapted from the novella by H.P. Lovecraft; Performed by a full cast
1 CD – Approx. 77 Minutes [AUDIO DRAMA]
Publisher: HPLHS
Published: October 27, 2009
Themes: / Horror / Cultists / Deep Ones / Cthulhu Mythos /

The final installment of a great series of faux Old Time Radio dramatisations of Lovecraft stories by the H.P. Lovecraft Historical Society’s very own Dark Adventure Radio Theatre is probably the easiest to convert in their point of view. By no means do I want to belittle their skill and effort but of all of Lovecrafts stories “Innsmouth”‘s dramaturgy comes easier to audio than, say, The Shadow out of Time [Review]. Bear in mind that Lovecraft was not exactly known for his use of action or suspense in the traditional sense, but  this novella about a degenerated community on New England’s seaside features his attempt of a chase and narrow escape plus a final plot twist.
I assume that most readers will at least be vaguely familiar with the plot but for those who are not here’s a very brief overview.
A young man tours New England, more precisly the fictional area that became known as “Lovecraft Country”, in a search for antiques and his family’s history. He learns of the town of Innsmouth which used to be a prosperous fishing and trading port but which has long ago fallen into gloom and decay, shunned by outsiders and inhabited by secretive people on whom generations of inbreeding have not been kind.
Of course, he disregards all warning not to go there and buys a ticket for the bus to Innsmouth. Ahh, the carelessnes of youth!
Sure, he only wants to get a quick peek and then leave again with the evening bus. What he learns from his own observations and the only two people willing to talk to him – an outside shopkeeper and the town drunkard – is bad enough. All the churches of Innsmouth have  either been abandoned or have been converted for use by the town’s sinister cult the Esoteric Order of Dagon. The cult that was brought to Innsmouth from the Pacific by one of its most prominent captains at a time when Innsmouth’s economy was failing. The new gods helped but at what terrible price our young protagonist is abuot to find out. Too bad that the bus that was supposed to bring him out of town in the evening has most inconveniently broken down leaves him stranded and cut-off in a town filled with people who are not entirely human anymore and even less keen on snooping outsiders than your usual run-of-the-mill hillbillies. Fortunately, there is a room available in the best (and only) hotel in town… and this is where the fun begins – our protagonist has to escape from Innsmouth.
But remember… you may take a man out of Innsmouth but can you take Innsmouth out of the man?
Find out more and watch <a title=” Shadow over Innsmouth Trailer” href=””>the trailer on Youtube.
There is not really much more  to say about the last and thus far final installment of DART that is different from the previous ones. Although the crew does not produce audio dramas for a living they take this serious enough to be on par with most professional publishers, and indeed even better than some. Luckily they don’t take it so serious as to avoid the tongue-in-cheek humour which stands ol’ Lovecraft better than you might think.
The story has been dramatised well, music and sound design are great, the acting convincing and the feeling of an Old Time Radio show has been well preserved. The fact that DART have invented a visit from a government official to the protagonist (a fact actually mentioned in the original story) not only provides a convincing reason why the narrator keeps going on in the typical Lovecraftian monologues but also made it possible to tell  the  story’s ending a bit more dramatic than its literary predecessor.
Every DART show comes as both MP3 download and “enhanced” physical CD. The Shadow over Innsmouth  is no different and the CD contains such props as a “real” match book (with one final match left) of the Gilman hotel, a handdrawn map of Insmouth, a fake newspaper clipping, and a postcard. A nice extra (and free for all) service is the downloadable script to read along.
To round off this the final audio drama the HPLHS offers a nicely designed box in the shape of a classic tube radio that holds all four currently available CDs.
The only thing that this leaves me wanting is more. I want more Dark Adventure Radio shows! Alas, the HPLHS has been awfully quiet on the audio front recently. One can only assume that their resources have been eaten up mainly by their film endeavours.

Posted by Carsten Schmitt

Mark Time (and Ogle) Award Winners for 2011

SFFaudio News

The Mark Time AwardJerry Stearns, the coordinator for the The Mark Time Awards and Ogle Awards, writes in with this list of the winners for 2011:

The Mark Time Awards are given each year for the Best Science Fiction Audio Theater production, and the Ogle Awards are given for the Best Fantasy or Horror Audio Theater production. These are the 15th Annual Awards, for the 2011 Production Year.

Mark Time Awards

GOLD
Brad Lansky and the 4D-Verse
Protophonic
Written by J. D. Venne
Producer, Dieter Zimmermann
www.protophonic.net

SILVER
My Other Self
Stagestruck Audio Theatre
Written & Produced by Bret Jones

&

Our Fair City, Season 2
HartLife NFP
Written by Clayton Faits & others
www.OurFairCity.com

EXCELLENCE IN ADAPTATION

The Martian Chronicles
Colonial Radio Theatre on the Air
Story by Ray Bradbury
Dramatized by Jerry Robbins
Producer, Seth Adam Sher
www.colonialradio.com

Logan’s Run – Last Day
Colonial Radio Theatre on the Air
Written by Jason Brock, William F. Nolan & Paul Salamoff
Producer, Seth Adam Sher
www.colonialradio.com

Ogle Awards

GOLD
Intensive Care
Final Rune & AuralStage Productions
Written by James Comtois
Producers, Fred Greenhalgh, Matthew Boudreau, Samantha Mason
www.finalrune.com/intensive-care/
www.auralstage.com/2011/10/intensive-care/

&

Ghost of a Chance
19 Nocturne Boulevard
Written & produced by Julie Hoverson
www.19nocturneboulevard.net

SILVER
The Strange Case of Springheel’d Jack
Wireless Theatre Company
Written by Gareth Parker, Robert Valentine
Producers, Robert Valentine, Gareth Parker, Mariele Runacre-Temple
www.wirelesstheatrecompany.co.uk

—————————————————

The 15th Mark Time Awards will be presented July 5, 2012 at CONvergence, in Bloomington, MN. Representatives from four of the seven production organizations will be present to accept their awards, as will several past winners and four of the five judges.

Mark Time is a character created in 1970 by the Firesign Theatre. Phil Proctor and David Ossman of Firesign will also be attending CONvergence to help celebrate the occasion, along with their wives, Melinda Peterson and Judith Walcutt. Judith is a convention Guest of Honor, too. And they’ll all be participating in events throughout the convention, including the Mark Time Radio Show, just before the Opening Ceremonies.

We encourage you to look up the winners and give them a listen. You’ll find some excellent storytelling.

For more information about CONvergence: www.convergence-con.org
For more about the Mark Time Awards: greatnorthernaudio.com/MarkTime/MarkTime.html

Posted by Jesse Willis

Review of We’re Alive: A Story of Survival – Season One

SFFaudio Review

Blackstone Audio - We're Alive: A Story of Survival - the First SeasonWe’re Alive: A Story of Survival – Season One
By Kc Waylan and Shane Salk; Performed by a full cast
12 CDs – Approx. 14.2 Hours [AUDIO DRAMA]
Publisher: Blackstone Audio
Published: 2011
ISBN: 9781455114580
Themes: / Horror / Zombies / Post-Apocalypse / Los Angeles /

This exciting audio drama is based on an immensely popular podcast that has received hundreds of positive reviews and has had over four million downloads—and counting.

Uneven and slightly amateurish, but also fun, mildly addictive and highly listenable, We’re Alive: A Story of Survival, the first season (Modern Myth Productions, LLC) should appeal to fans of the zombie/post-apocalyptic/survivalist genres.

Unlike most audiobooks, which typically feature a single narrator reading text in unadorned style, We’re Alive is an audio drama. It employs a large cast, incorporates a wide range of sound effects, and is scripted in a way that caters to the ear, emphasizing dialogue and interpersonal relationships over lengthy descriptive narrative. Our minds are left to fill in the gory details, and it works. It’s simultaneously fresh and retro, reminding me of what the old radio shows of yesteryear must have been like. We’re Alive was launched and remains an ongoing podcast (check it out HERE) but you can obtain the entire first two seasons from Blackstone Audio, Inc.

The storyline is about what you’d expect: A zombie apocalypse strikes without warning, quickly overwhelming most of the population. Three young Army reservists (Michael, Angel, and Saul) commandeer a humvee and seek out survivors in downtown Los Angeles. After rescuing a couple civilians they find an apartment building, clear it of zombies, and begin to fortify it, rigging it up with a generator and stocking up on food, water, and ammunition. More survivors eventually trickle in and/or are rescued by the group, including Burt, an aging Vietnam veteran who acts and sounds a lot like Clint Eastwood. Soon there’s a small but thriving community holed up in the apartment building.

We’re Alive has a few problems. I had a hard time distinguishing between some of the women. The men are generally given more agency and are more fully developed characters. There are some writing weaknesses, including characters that bicker and bitch over trifles and at times seem more concerned with saving face than staying alive. This creates plenty of distractions and gets the group in more trouble than it should, at first with zombies and later with a greedy, nasty group of human convicts (the “Mallers”). Also, a few of the characters’ skill-sets seem a bit too fortuitous (one of the women is a pro archer — rather convenient).

The story also uses zombies that break sharply with most undead traditions. Some have a rudimentary intelligence, at least one can talk and strategize, and at times they are directed by some unseen controlling force to capture and carry away their victims rather than consuming them. While I’m not a strict zombie purist, these traits lessen their scare factor and weakened them as a threat. Zombies are at their best when they’re relentless, merciless eating machines; take away that characteristic and they become caricatures. There’s even some species of large zombie monsters lurking in the background, though they’re not described well and it’s impossible at least through season one to determine if they’re a large zombified animal or a creature of pure fancy. In short, if you’re a zombie purist, or expecting undead in the Romero mold or new Dawn Of The Dead style, be prepared for a lot of “rule breaking.”

But We’re Alive also has plenty of good things going on, enough to give it my recommendation. Most of the characters grow on you and the voice acting is reasonably good. There are enough plot twists and turns to keep you guessing. There’s a hardly a dull moment—when not fighting the undead or the Mallers, the survivors are fighting amongst themselves, often chafing against Michael’s inflexible never-question-my-orders military style of leadership. Ex-lawyers and teachers find themselves growing vegetables on the rooftop, serving as quartermasters, or standing guard duty, with inevitable grousing and dereliction of duties. As the survivors’ supplies start to dwindle, they’re forced to take increasingly dangerous runs for food and ammo into the “hot zone” of zombie and looter-infested downtown L.A. There’s also a larger backstory about the hows and whys of the zombie outbreak that’s still unrevealed but will undoubtedly be a part of latter seasons.

While it lacks the moral/philosophical questions and hardcore grittiness of The Walking Dead, We’re Alive is nevertheless fun stuff and I’m looking forward to listening to season two.

Posted by Brian Murphy

Hypnobobs: The Origins Of ALIEN

SFFaudio Online Audio

Hypnobobs #80 - The Origins Of ALIENA recent Hypnobobs podcast features two guests from The Black Dog podcast talking with host Jim Moon about the origins of ALIEN. It’s a lengthy discussion, running 2.5 hours, touching on the many filmic inspirations for the 1979 film written by Dan O’Bannon.

|MP3|

Podcast feed: http://feeds.feedburner.com/Hypnobobs

This is the perfect excuse for me to point out something that Moon and guests didn’t – namely the original literary source, perhaps, for all the films they mention and, perhaps, for ALIEN itself. It is a 1939 short story by A.E. van Vogt entitled Black Destroyer (later assembled into a part of a fix-up novel entitled The Voyage Of The Space Beagle).

Check out the original art:

Astounding, July 1939 - Black Destroyer by A.E. van Vogt
Black Destroyer by A.E. van Vogt - illustrated by Kramer
Black Destroyer by A.E. van Vogt - illustrated by Kramer
Black Destroyer by A.E. van Vogt - illustrated by Kramer
Black Destroyer by A.E. van Vogt - illustrated by Kramer
Black Destroyer by A.E. van Vogt - illustrated by Kramer

In 1974, Marvel Comics’s Worlds Unknown did an adaptation, with a cover illustrated by Gil Kane:
Worlds Unknown #5 - Black Destroyer (COMICS adaptation)

Black Destroyer adaptation - adapted by Roy Thomas with interior art by Dan Adkins and Jim Mooney

And then, a couple years after ALIEN was released, somebody at EERIE magazine made the connection:
EERIE, February 1983 - adaptation of The Voyage Of The Space Beagle - cover art by Kelly Freas

Posted by Jesse Willis

LibriVox: The Cats Of Ulthar by H.P. Lovecraft

SFFaudio Online Audio

The Cats Of Ulthar by H.P. Lovecraft

Hannes Bok illustration for The Cats Of Ulthar by H.P. Lovecraft

Hannes Bok illustration for The Cats Of Ulthar by H.P. Lovecraft

First published in Tryout, November 1920, The Cats Of Ulthar is an unusual tale by H.P. Lovecraft. It reads more like an old fashioned fairy tale than any other I’ve read. The story features a young boy named Menes who loves cats. Lovecraft probably took that name from the writings of a Greek historian named Diodorus Siculus who related a tale of a legendary Egyptian pharaoh named Menes that he heard from some crocodile-god priests. Menes it was said fled from his own dogs, who attacked him, while hinting. His escape was assisted by a crocodile. But no dogs or crocodiles are mentioned in The Cats Of Ulthar.

LibriVoxThe Cats Of Ulthar
By H.P. Lovecraft; Read by James Pontolillo
1 |MP3| – Approx. 9 Minutes [UNABRIDGED]
Publisher: LibriVox.org
Published: October 19, 2008
|ETEXT|
First published in Tryout, November 1920.

And here’s a |PDF| made from the publication in Fantastic Novels, January 1951.

Posted by Jesse Willis

PBS: WonderWorks: Ray Bradbury’s All Summer In A Day (1982)

SFFaudio News

All Summer In A Day by Ray Bradbury

From the PBS series WonderWorksAll Summer In A Day was first broadcast in 1982 – the uploader of the torrent version (available HERE) says: “I don’t think it’s ever been released on DVD.” I think he or she is right. This is a low budget adaptation and it’s pretty terrific.

On the planet Venus, it rains almost constantly. A classroom full of young children are excited to hear that the rain will stop today, for just one hour. But they are also resentful of a new classmate from Earth, who remembers what it’s like to see the sun.

[Thanks to Mike Konczewski for the summary]

Posted by Jesse Willis