morpheus

The best of the new recordings.

Revisado: 06-19-23

I love this book. It's one of my favourites by Sir Pterry. This is also the only narration of the new series of recordings that even comes close to the older ones by Nigel Planer and Stephen Briggs. Alfred Enoch brings a low-key, tongue-in-cheek energy to the book, which fits pretty much perfectly. It's up there, just behind Planer and Briggs. Bonus point for actually pronouncing Ptraci's name as "Traci" and not "Puh-trachee" like Planer did.

Unfortunately, the same can't be said about Bill Nighy and Peter Serafinowicz. Nighy is too matter-of-fact and and Serafinowicz lacks the endearing dorkiness of Death in the Discworld.

4,5 stars for Alfred Enoch, who does a great job. Lose 0.5 star for Nighy and Serafinowicz.

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Great story, dull performance.

Revisado: 04-20-23

1.5 stars for the performance, because occasionally he actually sounds alive. The rest of the time, he sounds like the S.A.M. speech synthesis on my ancient Commodore 64.

Incredibly sad, because the story is great, even if it drags a bit in places.

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Brilliant story, underwhelming performances.

Revisado: 07-24-22

Sian Clifford has a pleasant voice, but she sounds like she is reading a story for kindergarten; when in fact she is reading one of Terry Pratchett's darkest Discworld novels.

Unfortunately, these new recordings leave a lot to be desired. The format of having footnotes be separated by a jingle was already left by the wayside in Planer's day, because it was bad; Nighy is fine as the footnote narrator, if somewhat laconic.

Serafinowicz is okay as *a* Death, but he almost completely fails to capture the dorky side of the *Discworld* Death. I fear Planer will never be outdone when it comes to voicing Death - sombre, yet adorkable.

Completely gone is the amazing dialect work of Briggs. Overall, the different voices are bland and uninspired.

The only thing the new recordings have over the old ones, is the technical quality; and that's just not good enough. Not by any stretch of the imagination.

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esto le resultó útil a 2 personas

A borderline masterpiece.

Revisado: 07-22-20

This is the best translation of a visual medium into pure audio, that I've experienced. A classic-style radio drama, with a big budget. The performances are top notch and Gaiman's slow, ominous narration lends additional weight. I see the comics before me as I listen.

Yet, it can't be an overall 5. It still lacks the surreal visuals of the comics, and that is something I can't completely ignore, unfortunately. However, I doubt I will ever give a higher rating to something like this, than I give Sandman.

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Dull reading of fantastic stories

Revisado: 11-26-18

Did someone tell this narrator that E. A. Poe was some kind of light entertainment, or possibly that his stories were all procedural detective stories? The same weird stresses and curious, light-hearted tone, no matter the subject matter.

"The Fall of the House of Usher" sounds exactly as matter-of-factly as "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt" (two of the very few stories where this style of narration actually works). "The Masque of the Red Death", "The Fall of the House of Usher" and the ending to "The Cask of Amontillado" sounded flat at best, with the disturbing sensation that the narrator meant for you to laugh.

The pauses between stories are also virtually non-existent, meaning that the level voice makes it possible for you to miss that a new story has begun. I can't in good conscience recommend anyone to buy it.

Edit: I suppose I have to talk about "The Raven" as well... The narrator had one job: Make the setup creepy and the ending oppressive. He made the setup uninspired, and the ending where the shadow of the past will forever haunt the protagonist, sounds like the shadow is a new piece of furniture, judging by the narrator's delivery.

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Great, refreshing take.

Revisado: 11-14-18

A well-acted, well-produced version of one of Shakespeare's absolutely finest works. My only real problem with it, is the same as with all Arkangel Shakespeare productions I've listened to: The scene/act-ending music is typically a bit too loud. It's always good music, but can come as a bit of a shock if you're not prepared. That's the only reason why the Overall rating can't be a 5. It's a production problem, and in no way reflects poorly on the story or performance.

In contrast to a few reviews that almost made me not purchase this version, I think the accents used by Titania (Jamaican), Oberon (sub-Sahara west-African (not Jamaican, as the aforementioned reviewers wrote)) and Robin Goodfellow (switches at will, as the trickster he is) are a breath of fresh air. These are meant to be ancient beings who transcend human borders - calling themselves our parents. The play itself takes place in present day Greece, and has an Amazon woman (by all accounts, the Amazons would be from present day Turkey/Iran), Titania has just returned from India... Why would the fairies necessarily speak in a British accent?

Take it for what it is; a great classic take on A Midsummer Night's Dream, with a few artistic liberties taken. Great stuff as always, from Arkangel.

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