Suicide Kings (Dramatized Adaptation)

I’ll be honest: I went into *Suicide Kings* expecting another ‘brooding necromancer saves the day’ story. Instead, I got a masterclass in how to make family drama *hurt*. Eric Carter isn’t just fighting gods or solving murders—he’s drowning in the fallout of his own bloodline’s curses, and the audiobook’s full-cast format makes every betrayal and snapped retort land like a gut punch. DePinto’s performance as Carter is the standout—his voice carries the weight of a man who’s seen too much, but still cracks a joke when the world’s ending. The supporting cast, especially Yasmin Tuazon as the terrifyingly calm Santa Muerte, elevates the stakes beyond typical fantasy fare. That said, the pacing stumbles in the middle. The ritual-heavy second act drags slightly, leaning too hard on lore dumps that even the stellar voice acting can’t fully salvage. And while the sound design is immersive (the ghostly echoes are *chef’s kiss*), some of the fight scenes get muddled in the mix—it’s hard to track who’s throwing punches when the audio gets chaotic. But when it clicks? *Suicide Kings* is a dark, funny, and brutally efficient listen. The final act’s twists hit like a sledgehammer, and the way Blackmoore ties Eric’s personal demons to the larger mythos is damn near perfect. If you love your fantasy with teeth—and a side of ‘oh god, not *another* family secret’—this is worth the ride.