“River of Pain is the second Audible Original Original adaptation of a novel expanding the Alien franchise. The first, “Out of the Shadows,” was gripping enough and an effective drama. This, skipping the second in the novel trilogy, “Sea of Sorrows,” is better, boosted by closer and better continuity to the movie it’s most closely linked to, ‘Aliens.’ This film was James Cameron’s big screen stand off between Ellen Ripley and a band of colonial marines, and an army of Xenomorphs and their Queen. This is a direct prologue to that film, and skillfully weaves in key early scenes from the movie, as well as sometimes expending them a little (watch out for how they riff off “There goes our salvage guys”). This is fascinating and very well done. Kudos to the cast who brilliantly step into the skin of the originals, especially Laurel Lefkow as Ripley. You get some of the ‘Aliens’ original cast returning as well, including Mac MacDonal as unfortunate Colony administrator Al Simpson, and William Hope as Lt. Gorman (“you always were an asshole, Gorman”).
The action, flashing between early scenes from the film and parallel events on the terra-forming colony Hadley’s Hope on the planet Archeron (the mythical original of the titular “River of Pain”), leads to events starting with Ripley’s rescue by the salvage team, the arrival on Archeron on a new troop of marines led by the tough but principled Captain Damian Bracket (superbly portrayed by Colin Salmon) and up to no good Weyland Yutani scientists. The population of Hadley’s Hope are worn down and beleaguered by the grind of colony life, and are fighting amongst themselves. Newt’s mom and Dad are fighting (Anne Jordan is sympathetically played by Anna Friel), and when news come of a big mysterious site to explore that could prove lucrative, the Jordan’s seize on it as their possible salvation. Unfortunately the fate of the colony is rapidly being sealed. The first 2 hours effectively build up the tension and atmosphere of the world of Aliens. Fans will be delighted by familiar sounds, the distinctive whirring of the colony doors, the bleeping of trackers, and so on. Scientists, military, administrators all clash, and Ripley slowly works through the chain of events that slowly lead her to Archeron. It isn’t long before face-huggers, chest-bursters and warrior adults all do their violent thing and start munching through the colonists, or worse. It’s good drama when you know the colony’s fate and the fate of key characters, dread getting to that point but are behind them and rooting for them nevertheless I was expecting a very down-beat finale, and yes the horror of dreaded events is there, but there’s also an unexpected shot of hope and redemption at the end that will make you cheer. In fact there’s two, when we get to a first meeting between certain characters that the drama has been building up to.
Brilliant and recommended.
The final instalment of Shan’s compulsive 12 book ‘Zom-B’ serial is a heady brew.
It piles betrayal on betrayal until the undead, feisty teenage protagonist is driven to take the mother of all drastic steps. What follows is a game-changing development that you will not have seen coming. It’s not a ‘twist’, per-se, more of a huge step in an unexpected direction, that nevertheless has imaginative and narrative integrity with what has gone before.
The gory set pieces and sudden and brutal offing of familiar characters, hallmarks of the series, continues to the end. And as usual Shan’s monster’s gallery of mutants is deliriously entertaining, from the flying, piranha tooted ‘babies’ to the horror clown of Mr Dowling. Not to mention the clawed, long toothed brain munching zombies themselves.
The writer also develops political themes on apathy and activism he began to explore in the first book with B and her racist father and her initial reluctance to challenge him, and where that leads. Here this is applied to the apathy and indifference to society as a whole to the injustices and evils in its midst, and where that leads.
Warren Pleece’s narrations have also been a welcome addition in the series. They remind me of the black ink illustrations to the original Doctor Who ‘Target’ novelisations
. Simple yet effective snapshots of the action to compare with your own imaginings.
The whole series is great for young adults and older adults alike, and it’s great to see it brought to such a non cop-out conclusion.
Teenager Becky Smith, an undead activist fighting for the overthrow of the undead army that infected her and took over the planet, is back. This time she’s horribly alone, on the run from friend and foe alike. Have to be extremely careful of spoilers, as we are now in the end-game of this 12 book serial, in the penultimate episode. B is horribly mutilated, even for an active zombie. Tortured and twice badly disfigured, she must run from her ex-‘husband,’ the crazed clown Mr Dowling, keeping in existence (staying alive doesn’t seem appropriate) whilst uncovering the vast conspiracy that has wiped out most of the human race. For someone now used to shocking betrayals, there are even worse on the way.
The writing is brisk and the action fast paced. Teenagers will warm to B’s struggle with identity, whilst taking reassurance that appearance and body image are inferior to character, and what’s in the heart. In our media’s ever worsening obsession with imposed desirable body images and ‘norms’ of physicality, Shan’s stories can act as a welcome antidote. As such they join a rich horror tradition where the monsters are smarter and more noble than their human counterparts. A cracking story in its own right, a brutal shock and cliff-hanger set the scene nicely for the final episode.
Search my blog for ‘Darren Shan’ to read reviews of the rest of the series.
This is a fast paced, massively entertaining treat for ‘Alien’ fans, part of the ‘Audible Original’ range. It’s an audio drama production as opposed to an audio book (so different cast parts, music, sound effects) based on the novel of the same name by Tim Lebbon. You can read my review of the novel here
. The Audible Original sequel ‘River of Pain’
is due soon (26/04/2017).
In terms of the story, it’s based on-board the mining ship Marion, which in the opening chapters is devastated by a collision with a shuttle. Chris Hooper, engineer, and his horrified colleagues watch on the shuttles security cameras as the surviving crew is decimated by a handful of Xenomorphs. As they watch, the pilot’s chest explodes as she births an Alien infant. The shuttle has been on planet LV178 where they have been mining Trimonite, a rare mineral harder than diamonds. There they have made the discovery which causes their deaths. The shuttle ‘Samson’ docks and it’s only a matter of time before the station itself is infested. Meanwhile, another ship hoves into view. It’s the Narcissus, and on board is one Ellen Ripley and her pet cat Jones, in hyper-sleep decades after the destruction of the Nostromo and it’s one terrifying Alien. In terms of continuity this is between the first and second films. If you are wondering how Ripley never mentions this phase of her adventure, I won’t spoil the reason, but it works better here than it did in the novel (where I think the convenience of this particular contrivance felt rather forced) because you are carried along by the faster pace and you don’t dwell on the contrivance as you may if reading. If you are asking how the Narcissus found the space station, then it’s not too much of a spoiler to say that one homicidal android from Alien chapter one has downloaded his programme /consciousness onto the Narcissus, and that consciousness has steered the Narcissus to the Marion’s distress call, which contained details of the Aliens. You see, Ash is still intent on fulfilling his ‘special order’ to bring an Alien back to Earth and the ruthless company, Weyland Yutani.
Ripley is revived and is understandably none too pleased that her nightmare on the Nostromo is not over. The stage is set for a battle between human crew, Aliens, and Ash…
The production works very well and is full of sound effects recalling the world of ‘Alien.’ The hum and beep of the computer on the Narcissus and it’s clicking of its retro keyboard, the, clanking and rumbling of industrial vessels, the hissing and chilling Alien cries. And Laurel Lefkow’s reading of Ripley made me wonder if they had Sigourney Weaver on board as I first started to listen, so accurate is she to the weary, bitter heroism of that character. The other standout is Rutger Hauer. He’s superb as Ash, distinctive from Ian Holm but still capturing the cold, ruthless analytical character of Ash, inhumanly human. And the rest of the ensemble cast complement each other well, keeping things moving at a cracking pace under the able direction of Dirk Maggs.
At 4 hours 31 minutes it compresses and follows the contours of Tim Lebbon’s novel closely. It’s a recommended listen for those who can’t wait for Alien: Covenant
(or the Neil Blokaamp re-boot
A continuation of the H P Lovecraft’s “Cthulhu” cycle of the stories set in 1990’s Britain, the eponymous Occult scientist Titus Crowe and his Watsonian sidekick Henri Laurent de Marigny face off against eldritch horrors burrowing beneath the Earth.
It has the tone of Victorian gothic melodrama, being told in an epistalatory fashion, with heroes who have a curiously old fashioned vibe of daring do about them. And although its set in the 90’s, there are very little by way of cultural signifiers that would place the story there, apart from the odd mention of oil rigs, phones and cars. Taken together with the above mentioned style, for the first quarter of the narrative I genuinely thought I was in pre-war Britain.
And for the most part it works, adding to the feeling of fog shrouded streets and tentatcled, timeless horrors in the shadows. It gets off to a good start, with a series of letters about the discovery of mysterious spheres in inexplicably carved tunnels underground. We soon learn of other underground scientific expeditions that have ended in horror, madness and disaster, and of a race of terrifying burrowing tentacled monsters and their place in a pantheon of alien horrors that have existed before our world began. They are not interested in a planet share…
There are some great set pieces; the destruction of an oil rig; battles between telepathic fighters, explosive harpoons and giant creatures; a renevant creature with a body of slime holding a human brain, and more.
The narrative as a whole, though, is a little too reliant on massive info dumps and chunks of exposition, as our heroes consult and reference various occult sources to explain the nature and history of this threat. There are also a lot of passages that are there purely to set up future stories in the Titus Crowe series. And it has a very open, cliff hanger of a conclusion. As a result this reads more of an account of a skirmish in a bigger war, rather than a stand alone story.
That said it does not require any previous reading or knowledge of Lovecraft’s works, and could be a good jumping on point for a very rich tradition in horror fiction. I listened to the audio book of this novel, and it’s read by Simon Vance, whose cool, civilised tones suit the tale perfectly. And kudos to him for his seemingly effortless pronunciation of the tongue twisting, syllable crashing Cthulian chants and alien names.
A group of friends find more to trouble them than a hang-over when they wake from a Stag Party in a remote country cottage in Sussex. The world has gone mad, infected by a disease that turns people into ravening, mutating, flesh eating monsters. Who or what is the cause of the outbreak? Will they survive and find their families and loved ones alive and un-turned? Is there any hope for humanity? How far has the plague spread?
What sets this very bleak but effective apocalyptic thriller apart from the groaning weight of it’s undead filled cousins are the monsters themselves, and their mysterious origin. The origin is very sketchily explained and this is both strength and weakness. I’ll come to that later. But the monsters, what you become if you are unlikely enough to contract this plague, are basically every combination possible of the mutations in John Carpenter’s “The Thing” and then some. The body horror also nods to David Cronenberg, but the main respectful nods must be to “The Thing.” Fanged mouths and eyes generate in very odd places indeed, as do slimy tentacles and spider legs and all kinds of weird animal shapes that really do reference that film. As do the grotesque ways the monsters consume their prey, from just chowing down to absorption.
The horror is merciless and the tone relentlessly bleak, even for a genre not known for casual optimism. The characters are well drawn and the writer knows how to develop them, their reactions are heartbreaking and believable. The survivors find a small child, a girl, which ups the ante, as they fight to keep her alive. The pace of the narrative is fast. Short chapters will speed by in a blur. That this is managed whilst maintaining the generations of suspense, mystery, and character development is testament to good writing.
What was more problematic for me was that a bit of ‘slow burn’ in a plague or zombie outbreak’s origins is something I usually enjoy, the gradual exponential dread, the story of a patient zero and the ripples outwards. We don’t have that here, there’s something like a spontaneous mass infection. And what spares our protagonists, and the uninfected they meet? Why some and not others? Yes it’s spread by bites and scratches as usual, but the initial mass outbreak was caused by huge, mountainous organic alien ships in the sky (full marks for originality and creepiness). But how exactly did they kick things off? I’m hoping these things are unpacked in the next few books in the trilogy.
It’s bleakness and gore is “Walking Dead” strength (the graphic novels) so be warned. You may need to lie down and / or watch a Pixar movie on finishing this. Definitely a strong brew, but a good one.
All over the world mysterious black stones appear. They begin to pulsate, shimmer and then project a shimmering arch, through which surge hordes of demons, intent on world conquest.
The story is told through multiple viewpoints: Mina Magar, photojournalists in London, Rick Bastion, a faded alcoholic one hit wonder rock star in the UK South West, Tony Cross, a Staff Sergeant on the Iraq/Syria border, and Guy Granger, a US Coastguard off the coast of a besieged New York. All of them are close to a stone when it becomes a Gate, and all of them are in the front-line in this new war against Hell.
The monsters break down into 4 main groups; giant fallen angels, complete with loincloths and frazzled wings; badly burnt humanoids, ape like creatures with razor sharp talons, and possessed humans. The humanoids are talkative but their conversation is generally unpleasant, forever calling people “maggot” and “worm,” and threatening to variously disembowel people or defecate in their skull. All have a beef with humanity and generally want it gone so they can take over the world and desecrate God’s creation and make Him appear so they can make Him vulnerable and attack Him. Or something.
This book is stark, staring bonkers. Even by the standards of apocalyptic horror, it’s out there. It makes like your average zombie novel read like common sense. It has an effective build up and when the demons first appear I was intrigued. The multiple plot-lines / viewpoints were an interesting juxtaposition and you waited for some kind of narrative cohesion that would help you to buy into this world. That does not appear. There are a lot of set pieces, some effective shocks and Game of Thrones-esque offing of a major characters (although one is rescued by a pretty gob-smacking Deus ex machina) but there’s a lot of laboured exposition and info-dumping, as demons taunt their prey and explain the plot in a way the villains used to do on bad tv.
The theology is cartoonish in its depiction and understanding of Hell and it’s hierarchies.
And yet, I did enjoy the book, and it rattled along at a good old rate. There is enough skill in evidence to keep you flipping teh pages and immersed in this utterly daft pulp horror.
The audio version is read by Nigel Patterson who does a good job of characterisation, clarity and pacing