Tony’s hearing voices
again
‘Oh
great – stalked by a bashful Christopher Lee.’
Are you…ffffffffreeakin’
kidding me?
Made You Look ends the
second series of Torchwood audios from Big Finish, and it ends it in such a way
as to make you jump up and down, stamp your feet, and bloomin’ well demand
Series 3 begins immediately. The cliff-hanger on which this audio adventure ends
is just insane. So much so, it’ll have you sitting through the trailer for
forthcoming attractions and the interviews just to see if, like a Marvel movie,
there’s an extra snippet, an extra chunk of something to help put you at your
ease right at the very, very end.
There isn’t.
Clearly, Big Finish
doesn’t want you at your ease. It wants you in that hyped-up,
what-the-hell, give-me-the-next-one frenzy, right the way through until, we
presume, the start of Series 3.
That’s the level of
fundamental human evil we’re dealing with here – like tearing the last page out
of a murder mystery or recording all but the last five minutes of your
favourite show, Made You Look is structured to absolutely make you listen to
the next episode, whenever it arrives.
In itself, the set-up of
Made You Look is nothing especially new – Guy Adams taps into quite a rich
recent history of Doctor Who monsters, from the Listen bedclothes-creature to
Prisoner Zero, to deliver an entity you see out of the corner of your eye, but
if you see it three times, you die, and then it eats…something of you, some
energy, something housed in your eyes (just for extra creepiness, obviously).
You see it three times, you die, so naturally, it employs a fairly disturbing
but frequently played game – the game of Made You Look. It hovers behind you,
trying to make you turn, trying to make you look at it, talking to you,
taunting you, teasing you into turning, to looking, to losing the game and your
life.
The reason such a thing
should set up operations in a seaside town out of season is as yet mysterious,
except that a seaside town out of season already has that air of a hibernating
thing, a whole system geared towards making money, sleeping, drowsing, just the
residents left breathing in its streets, to the rhythms of the waves.
Except not here. Here, The
Voice as it’s referred to in the story (or Darkness as it’s listed on the Big
Finish website) has killed everybody. In three days. Everybody except blind Mrs
Rhodes the landlady of a moth-eaten B&B. And now, except for Gwen Cooper,
newly arrived to sort it the hell out. There was a video that went out into the
world, a video crying out for help from sleepy Talmouth. A video that Torchwood
intercepted, and stopped the world from seeing, so as to avoid mass panic. Now
Gwen finds herself alone with Mrs Rhodes and The Voice at her shoulder, in a
story perhaps more custom-built for audio than any other in Torchwood so far.
As they struggle to get
out of Talmouth, one of them blind, the other more or less keeping her eyes
shut in case of accidental glimpsing, Gwen and Mrs Rhodes experience some
scares that have more than a hint of Sapphire and Steel or Doctor Who’s matrix
about them – beaches that go on forever, mirages of people doing improbable
things, flocks of Hitchcockian seagulls and audio illusions designed to ‘make
you look.’
The story ends on a note
of tension, but it comes out of nowhere, from a place where it feels like the
threat is over, but it can’t be. The whole idea of turning your back on frightful
things to render them powerless is invoked here, but not with any sense of
finality, leading to an ending that means if it were a book you’d fling it
across the room in frustration that the next one wasn’t out yet.
Guy Adams has had a good
run in the Torchwood audios – he’s the man behind the funny and rabbit-punching
More Than This, and he also brought Suzie Costello back and made her live in
Moving Target. We’re going to put forward what will be an unpopular opinion now
and say that Made You Look is the least successful of his three stories, simply
because the premise is something we’ve grown familiar with in recent years,
this lurking voice, playing on the urge to do something utterly human, and
because when you have a Big Bad like The Voice that can manipulate your mind,
the idea of matrix-like shifts in reality are almost par for the course, so you
might find yourself thinking ‘oh, this is the weird bit’ from time to time,
rather than necessarily allowing the weird bit to really get under your skin as
it wants to. Adams’ other tales have all had something elevated and surprising
to set them apart, and in a sense this does too, just less notably so than his
other stories.
That said, it shouldn’t be
taken as meaning there are not chills by the bucket-and-spadeload here, because
there are – as well as the childhood game and the irresistible urge to turn, to
look, to confront an enemy that seems to be stalking you, Made You Look also
taps in to the neuroses of stories like Day of the Triffids, where the only way
to stay comparatively safe is to play Blind Man’s Bluff, even when the enemy
can mess with your mind.
And, as we say, there’s
that ending. You’re going to want to stay alert for that ending.
It’s a tight cast, this
one, Eve Myles doing a lot of the heavy lifting early on, narrating her journey
round a practically empty Talmouth, Ross Ford popping in to play the hapless
James, but the rest of the work falling to Marilyn Le Conte as Mrs Rhodes and
Matthew Gravelle, turning in a marvellously rich, juicy performance as The
Voice. You could practically pour a boatload of his voice over your Sunday
lunch, it’s that meaty, but it has a lithe, skipping quality you wouldn’t, for
instance, ask someone like Gabriel Woolf (another actor who in recent years has
played the ‘Don’t Turn Round’ game in Doctor Who) to do. Gravelle elevates the threat of The Voice to
a whole other level, taking what’s on the page and waltzing with it – and with
Myles and Le Conte – through practically the whole course of the play. That’s
another standout feature here; there’s little in the way of investigation – The
Voice more or less announces itself, its intentions and its nature early on. You’re
going to play its game, whether you want to or not. The trick is to escape with
your lives, if you can.
By the end of this
episode, we have no real idea if anybody can.
Made You Look is less of
an investigative mystery than it is a pulse-pounder, a raiser of heart-rates
and a surrealist nightmare. The Voice is insidious, the threat simple but
scary, a schoolyard game made deadly, leading to a cliff-hanger that’s a leap
in the dark for one of Torchwood’s finest. As a way of ending a series of
audios, it starts fast, gets creepy and leaves you wanting more, more more.
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