AISAT is basically the roleplaying game of The David Tennant Years (although we don't forget Christopher Eccleston or his predecessors, even if the artwork does). This is a game with the lush high quality production that one might expect from an officially BBC licenced Doctor Who product, but how does it stand up?
Pretty well, if all things are considered.
This product aims itself squarely at fans of Doctor Who and relies on the idea that existing RPG aficionados will be intrigued enough to pick it up. For those experienced gamers I'll lay it on the line that this is a great little system (if phenomenally basic) that makes a Time-Lord-Saving-The-Universe-Pseudo-Science out of hand-waving the rules, but does so in a nice way that encourages the games master and the players to work co-operatively to tell a great story. The primary balancing point in the rules comes down to Story Points- want to play a Time Lord, powerful alien, or immortal like Jack Harkness you will have less of these and they allow you to influence everything from roll results to those big dramatic moments when the Doctor returns to his youthful appearance and shows the Master who's boss.
Recorded during and immediately following R.E.M.'s disaster-prone Monster tour, New Adventures in Hi-Fi feels like it was recorded on the road. Not only are all of Michael Stipe's lyrics on the album about moving or travel, the sound is ragged and varied, pieced together from tapes recorded at shows, soundtracks, and studios, giving it a loose, careening charm. New Adventures has the same spirit of much of R.E.M.'s IRS records, but don't take the title of New Adventures in Hi-Fi lightly – R.E.M. tries different textures and new studio tricks. "How the West Was Won and Where It Got Us" opens the album with a rolling, vaguely hip-hop drum beat and slowly adds on jazzily dissonant piano. "E-Bow the Letter" starts out as an updated version of "Country Feedback," then it turns in on itself with layers of moaning guitar effects and Patti Smith's haunting backing vocals. Clocking in at seven minutes, "Leave" is the longest track R.E.M. has yet recorded and it's one of their strangest and best – an affecting minor-key dirge with a howling, siren-like feedback loop that runs throughout the entire song.
If Eric Benet’s career can be defined by anything, it’s the purity of emotion. He’s consistently made music that speaks to love and speaks from the soul and on Lost In Time he does it once again. Featuring duets with Faith Evans, Chrisette Michele, Ledisi and the O’Jays Eddie Levert, Lost In Time is at once a sumptuous homage to and an expansion of the sweet soul of the 1970’s.