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RADIO DRAMAS: A
COMPARISON AND
CRITIQUE
Within this document, the conventions of two radio dramas will be
compared and evaluated.

An essay by Georgia
Scannell

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92 years has seen the world engage in a war, survive nuclear disaster and develop items so futuristic
that their very design is enough to capture the interests and imaginations of us all. Alongside these
factors, a single creation has flown under the radar, despite surviving the aforementioned events,
amongst millions of others. The Radio Drama.
Despite being one of the most enduring forms of media, it is often overlooked and disregarded as being
a secondary genre, one that is only interesting to those belonging to the older generations. As can be
discovered with some exploration, there are a multitude of genres to be discovered, inclusive of
Postmodern and Traditional.
As such, The Blind Mans Confession (which belongs to the former category) and My Hands Gone
Through Glass (which belongs to the latter) will be compared and critiqued in order to gain a greater
understanding of what makes them so appealing to millions, and how they have lasted so long.

WORDS, VOICES AND SPEECH:

Within The Blind Mans Confession, the narrator is shown to be overly descriptive; he presents even
the smallest of details in such a way that exaggerates them. When discussing his driving, he does not
forget a single element. For example, he notes how the car careened around each corner, with his grip
loosening at each turn as he drove with zest and fury. The use of the word careen conjures images
of a vehicle navigating each corner on two wheels, in an almost cartoonish sense. Furthermore, it gives
the impression that his sense of danger is lower than what it typically would be; within television
(largely childrens programming) vehicles seen manoeuvring in this overly animated manner are able
to survive this motion with a sense of exhilaration. Additionally loosening tells us that, although the
driver is becoming more confident in what he is doing, he is not prepared to let go fully-the lexis
suggests that it has been a gradual process of relinquishing control, and not an automatic one. Likewise,
fury implies that he is allowing the anger he possesses dictate his behaviour, in this case, his maniacal
driving. Had we not had the dramatic reconstruction and the use of the loud engine, this single word
would reinforce our knowledge that he was moving at a great-and dangerous-speed. As such, it is
essential to helping paint the scene in our heads, with the absence of visuals. Ultimately, his illustrative
account is reflecting how he feels at this point in time; enthused and brimming with enthusiasm; he is
trying to recount his experience to us in a way that recreates those emotions and enables us to be
transported to the said time and place.
Contrary to this, My Hands Gone Through Glass, does not utilise the same degree of description. As
Liam struggles to grasp the grandeur of the ominous setting, the other individual tells him it is
beautiful, a phrase which the former repeats. This simplicity of this word tells us that the attractiveness
of the object being conveyed to us can be found in its basic form; this is not an intricate work of art, but
a piece of nature in the rawest yet most profound of forms. This is furthered when we discover that it
made of water; could this be the most extravagant and breath-taking of waterfalls? Similarly, the
sensitivity of the lexis and how it is whispered may be reflecting that this is a delicate, but gorgeous,
entity, so much so that there is no other way of explaining what they are witnessing. Much like in The
Blind Mans Confession, those speaking are attempting to pass their shock and disbelief at what is afore
them onto us as listeners; instinctively, we begin pondering what could be so magnificent to render
them speechless.
On the other hand, the extensive use of adjectives in the first of the two pieces helps build the scene;
we can envision the narrator tearing down the Blackwood Road late one October night, without a careor logical thought-in the world. Without these added details regarding where we are the setting would
be far more vague and lacking in form; we could be anywhere in the world, but the speaker limits this
to a country road in Oakland. In the latter, however, this is the intention; the author of the piece wants
us to be disorientated and question the location. This corresponds with its dreamlike quality-by having
no definitive environment we can make it are ownwe can create our own framework and mould the
place as we would have it.
As the events of The Blind Mans Confession escalate, we see the narrators use of vocabulary lose a
degree of finesse, as he becomes increasingly vague about the circumstances he is in. At approximately
6:24 he mentions a cold circle was pressed against (his) head. It is only due to the sound of a cocking
gun that we automatically know that it is a gun being referenced-this is an effective use of dramatic
reconstruction as the clicking is recreated for the audience. Because of this, we are able to experience
the same level of fear and anxiety and the protagonist. This is an interesting means of retaining the
attention of the audience; we must truly listen to discover what is going on. This phrase also shows that
he is disassociated from the occurrence in how he does not call the weapon by its name; it is not a pistol
but a nameless thing that can only cause destruction. Another example of this reluctance specify details

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comes when the speaker reaches the asphalt; we are able to infer that the other car that he collided
with was that of a police-which is what resulted in the death of the officer-hence why the criminal says
he owes the narrator a favour. As he never specifically says this, only mentioning his convertible pinned
to a tree next to a sleek, black, Sedan, it takes a careful and several listens before this theory begins to
present itself. Whilst this can make the audience play the piece more than once so as that they can fully
comprehend the tale, for the casual auditor it can be disconcerting-they want to have a complete
understanding by the time it has ended, whilst others may be put off by the confusion that a lack of
intelligibility may incite.
My Hands Gone Through Glass is ambiguous from the outset; nothing seems to have a definitive form
or recognisable characteristics, i.e. Liam mistakes the House of Water to be made of Glass. This
may be resultant of their imposing qualities; both can be powerful, mesmerising and threatening in
various circumstances. This could also reflect their differing perceptions on what the structure is made
of; Liam believes it to be of the latter material as he sees it as being transparent, and although wondrous
to behold, a simple concoction. The unnamed individual identifies it as being water due to his
understanding that it is not so clean cut and can be murky, with unheard of dangers lurking beneath the
surface. Perhaps he is aware that its alluring beauty poses hidden indicators of loss, pain and misery. In
this case, it is used to greater effect; whilst posing a slight annoyance in how little background
information is given, we enjoy theorising what is occurring, what has led to this and the specifics of our
location.
The similarities between the two in terms of how they withdraw information and knowledge from the
listener help us remain intrigued and wishing to delve deeper into their meanings. Having heard the
two, we have a desire to learn of the continuing difficulties and ghosts that the narrator of The Blind
Mans Confession must make, as well the eventual outcome of My Hands Gone Through Glass.
Whilst racing down the secluded road, the narrators pace of speech is fast and hurried. This mirrors the
frenetic nature of the situation, and how one is unable to consider anything but the present at that time;
we must focus on what he is saying in order to take it in. At the same time, it acts as a rhythmic
indicator for his heartbeat-when we place ourselves in a thrilling scenario which encourages both fear
and elation, this is set to increase. He may be using such a pace as he is uneasy about what he is saying;
this is a flashback, and on contemplation he may be scared of the past and wish to move the story
alonguntil he is forced to think about what occurred to him and discuss it with a degree of
thoughtfulness. In the context of a radio drama, this is positive in the sense that it pushes the plot along
whilst skipping over less integral elements; effectively, his description of his driving is a bonus that
helps us comprehend his mentality at the time of the events. Likewise, it reflects how quickly the story
escalates-he goes from enjoying an innocent joyride to encountering a felon. Despite this, it does mean
that the audience must be aware and paying close attention to what is being said. To resolve this, short
pauses could be implemented to give us breathing time.
Largely the antithesis to this is My Hands Gone Through Glass. The characters speak in a slower, more
calculated manner although the motivation for this varies for each character. Liam is in awe, unable to
believe what is in front of him. It is because of this that he takes his time in choosing what to say; he
needs to find a way to translate what his view in a way that does not understate it but instead does it
justice. The unnamed cast member speaks as though he has seen this spectacle before, but has never
lost his appreciation for it; unlike his counterpart who cannot begin to think of how to describe it, he
talks as if he is looking it up and down in a relaxed, smooth and leisurely way-it is almost as if he is
used to his acquaintances reaction and knows how to respond. This is effective as it leaves us waiting
in anticipation; we know that it is wonderful, but was is it? Similarly, we are given time to digest what
we are hearing and forge our own opinions-the lack of description helps these to be unique to the
individual listening, and diverse when comparisons are made.

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Similarities are present between the two in how the more severe the situation gets for the narrator in
The Blind Mans Confession, the slower he speaks. He begins to calm the pace as if he must ponder
how best to explain what he endured (like Liam). Alternatively, the memories may be of a distant,
nightmarish quality and he is struggling to differentiate between reality and fiction; to this day he could
still believe that all he experienced was a bad dream.
Voices are fundamental in the audience being able to distinguish between characters. Within The Blind
Mans Confession, the tone in which the narrator speaks helps shape how we perceive him; early onwhen speaking of his joyride, we can detect arrogance. This comes from his belief that despite the rate
at which he is travelling, he is invincible and does not have to concern himself with the limitations of
mortality. When describing the sensation of having a gun to his head and being at the mercy of another,
the protagonist speaks with a degree of confidence and clarity, almost as if he has made peace with the
severity of his situation and the likelihood of survival. He does pause when he recalls the lack of
introduction, and the impersonal nature that he is facing death in, as if he is once again presented with
the fact that this did, in fact, happen and could have been the end. Inevitably, when forced to detail why
he should be allowed to live, his voice breaks and he sobs, unable to fight the overriding emotion of
losing everything. Furthermore, whilst highly distressed and crying, he tells his captor of sorts that he
will say that he never saw a thing, foreshadowing his mutilation.
His attacker, however, has a more rugged voice, with sinister undertones. When we initially hear his its
raspy nature, we immediately become suspicious; he speaks in such a way that the media has made
suspect as being less that innocent. This, coupled with the fact that he has appeared from nowhere, make
us see him as being less than savoury. Ultimately, it is this that tells us that he is the antagonist and
should be feared by us, and the narrator. Additionally, his use of vocabulary is far less substantial than
his victim; he does not seem to have had anything more than a basic education. His use of lexis, and the
unnerving voice with which he speaks, help mould him into being the stereotypical villain.
In My Hands Gone Through Glass, on the other hand, the varying voices of the actors serves an easy
identification point for the two characters. The more surprised, and confused of the pair, speaks with a
Northern accent. As this is rather distinctive, there is no confusion as to when he speaks. The surprise
with which he talks makes it seem as though he has never seen the House of Water prior to this moment,
nor has witnessed anything of its magnitude prior to this. It is possible to detect uneasiness being
present; when he says You could almost touch it we hear his reluctance to actually approach it,
especially when he is told that there is no almost about it. The other is conveyed as being the
stereotypically well-educated English gentleman who is incredibly knowledgeable about the situationit is telling that he has experienced this view before, but has not lost his admiration for it. At points, he
adopts a goading tone, most prominent when he says In you go, Liam. It is almost as though he is
trying to pleasantly coerce the young man into entering an inviting, yet malicious, area of his own free
will.
As the Blind Mans Confession is largely recounted to us, and there is only interaction with one other
character, the voices are not as important as in My Hands Gone Through Glass. This is as, in the latter,
the piece is constructed as a conversation and it is imperative that we are able to differentiate between
the cast members, lest the piece becomes confusing and impossible to understand; we would be unable
to tell who was who, and who has said what. Despite this, in the former, it does assist us in forming our
opinions of the speakers, and in conveying what they are like as people.

MUSIC, SOUNDS AND SILENCE:

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Whilst the narrator describes his joyride in The Blind Mans Confession, the sounds, those used in the
set the scene in our minds. From approximately 57 seconds, in The Blind Mans Confession, the sound
of an approaching car can be heard. This is an early example of dramatic reconstruction, used to good
effect. Since the sound fades in from a distance, it accurately recreates the impression of a vehicle
speeding in from afar, informing us that we are outside, with the proceeding action likely involving this
individual. Due to the noise not being at a constant volume from the outset, it is made to seem as though
we are watching the story unfold from a distance; we will see the car arrive at this point.
Likewise, the rain and the howl of the wind support the narrators statement that it is a late October
night; we can picture the downpour pummelling the pavement, and anything that moves through it,
whilst the breeze gives the drops no definitive direction. This contributes to the menacing atmosphere;
the probability of having good vision is low, which begs the question, what is lurking beyond the
speakers line of sight? Likewise, this clarifies that we are in an external location; the protagonist is
unprotected and only has the relative safety of his car to shield him from whatever lies in the darkness.
Was it not for these sound effects, we would be given no indication to what the weather was; in a piece
where the time is limited, there is not necessarily room for the narrator to describe the climate.
Furthermore, was this set during a warm, hazy summer day, the same affect would not be created; no
longer would the producer be utilising pathetic fallacy-the mood would not be reflected through the
conditions.
Music is used in a similar manner to the sound of the speeding car-it comes in from a distance, getting
louder with each inch it moves forward. This is guitar heavy and mirrors the attitude of the protagonist;
angry, rebellious and prepared to cause havoc. It is effective as it acts as an audio descriptor for the
adrenaline and quickening heart rate of the protagonist. At the same time, it may be indicative of the
mayhem and punishing nature of what is to ensue. By only having a melody at this point, a sense of
realism is forged; what is the likelihood of a tune playing whilst one is confronting a psychopath? Due
to this, it is possible to replace the narrator with our loved ones, or ourselves-the scenario is being reenacted exactly in front of us.
Silence is put to good use in The Blind Mans Confession, often through pauses where the narrator-or
attacker-ceases to speak. This aids in building the tension as we have no knowledge of how the cast are
to respond, or what will be happening next. Similarly, it reflects the state of mind of the protagonist;
having been placed in such a peculiar and terrifying circumstance, he does not know what to think (like
us) and has drawn a blank, so to speak. Like with the use of music, it presents the actuality of the
situation; we like to believe that we would be able to think fast and escape intact, when really this it is
not common that this is the case. Furthermore, at approximately 1:30, there is an abrupt stop where
there is no sound, until the speaker mentions not taking into account the other car. This demonstrates
how soon a scenario can change, whilst foreshadowing later events; everything is altered for the
protagonist, from his free and easy attitude, to his way of life. The emptiness between scenes is
noticeable and leaves us pondering-and dreading-what is to proceed. It is used well in the sense that our
own imaginings can often be far worse than the reality of what we are to hear; we are expecting the
worst and need to know whether this is actually going to happen to the unfortunate speaker.
One of the more effective pauses is when the narrator is shown to be drowning. The sound is cut to give
the impression that we are unconscious and underwater with him. This positively demonstrates the
uneasy absence of life when one is facing impending doom; contrary to what some may believe, there
is not an abundance of sound, the final fight against death, or heavenly trumpets. There is only
nothingness.
In My Hands Gone Through Glass, there is no music is the conventional sense but a repetitive piercing
sound throughout. This represents the sharp and clear qualities glass possesses, and the shattering noise
it makes should it be dropped. This reiterates the potential danger of the situation; the most fragile,
delicate and beautiful things can be the most dangerous. Due to how it is both tranquil and irritating at

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the same time, it poses as a warning for the listener; it prompts them to suspect that all may not be as it
seems. Alternatively, it could be a bittersweet reminder for us to find splendour and hope in the most
ordinary of things-even those which we would typically deem as being standard, mundane or annoying.
This is unlike its counterpart which limits the use of unnatural background noise-in this case, it helps
create an uneasy ambience based on how we only have this noise, and the little clues we get from the
speech, to tell us where we are.
It is this what makes the sporadic silence so unsettling; we have an impossibly limited knowledge of
the situation. Like with The Blind Mans Confession we are left to our own devices to envision not
only what comes next, but our surroundings. The distant nature and possible impossibilities of the
drama contribute to its dreamlike atmosphere. As such, this could mean the periods of nothingness are
where he has been unable to piece together all of the components of his fantasy. When this theory is
paired with how little Liam seems to know and the potential for danger, we are witness to the
vulnerability of the character, and ourselves. However, the various points of silence are indicative of
him being stunned and amazed by what he has found himself seeing; the scene has effectively blown
him away, rendering him speechless and in a state of idolisation.

AMBIENCE AND CREATION OF MOOD:

Within The Blind Mans Confession, tension is created across the duration of the piece; we start on
edge, as we hear of the narrator being ankle deep in mud (with) blood everywhere. Instantaneously
we are intrigued, wishing to hear more of his predicament and how he found himself involved. Upon
mentioning his joyride and his descriptions of excitement, the pace of our growing concern slows
slightly, before accelerating when noting how he recalls soaring over a thick, black forest and being
on the verge of drowning. This causes the audience concern as we do not what the outcome of this
accident will be, and whether this is the true climax of the script. Likewise, we envision the terror that
must be faced when confronted with the realisation that one is on the verge of meeting a watery grave,
with the risk of never being discovered. When he encounters the felon and is forced to list the reasons
he should be permitted to live, the anxiety is reaches a crescendo; this is the tipping point, the moment
where life can be taken or spared-a presumably insane individual has just assumed a divine role, having
admitted that he does occasionally step on Gods toes. This horrifies the listener as a human has just
adopted the power of an inhuman, higher being. For the remainder of the piece we stay on tenterhooks,
largely because of our shock at the fate of the narrator-we want to know more about how this has
affected him, about the experience itself. Additionally, we recognise that this is not as ludicrous as it
sounds-how many people are we aware of who decide that, for just one night, they will live on the edge
and recklessly explore the back roads of their town? How many of us have felt the fear of meeting
another vehicle at one of the impossibly tight turns? Want makes the ambience so unnerving is how
there are a number of heart-stopping false starts-we think that we have reached the end, with no chance
of survival, only to carry on and be met with a greater challenge.
My Hands Gone Through Glass does not have such a clear cut reasoning to why the ambience is so
unsettling. The ambiguity and lack of information automatically has us questioning everything; as
people, we like to believe we have a superior mental capacity, and when the knowledge we think we
possess is removed from us, we do not like it. Furthermore, the instability that forms the body of this
world is disturbing-there is no hint as to whether this is a real description of a waterfall. More
concernedly, this (an)other land could be the result of a hallucinatory episode; Liam states that he
feels like (hes) on glass when (he) sees it. As such, glass is colloquial term for high purity
methamphetamine. Consequently, we could be merely be hearing his delusions as he suffers with the
high, or low, that the drug has caused. This is distressing in the deepest way possible-we are exploring

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another beings brain, their thoughts, their subconscious, at their weakest point; this is a dig into the
uncontrollable thoughts of a narcotics user, meaning that there is no limits, morality or correctness to
what we may uncover.
The pair delve into the genre of horror in different senses. The Blind Mans Confession is a literal
depiction of depravity and the cruelty that our species is capable of inflicting on others. It can be
perceived as being a dark, chilling variation of What If It makes us consider our choices, our near
misses, our close escapes before looking into the other outcomes. This is the worst possible ending
incarnate. Your most traumatic fear realised through another (fictitious) soul. As such, the ambience is
haunting, and leaves us peering over our shoulder and ensuring our doors our tightly locked. My Hands
Gone Through The Glass examines our psychology and creates an ambience that can differ from one
individual to another; it is statement that what one finds striking and picturesque, another can see in an
entirely separate way, i.e. Liam and the unnamed man. The terror is not based on what others our capable
of, but instead the darkness (or light) that we each harbour within our brains.

AURAL SIGNPOSTING AND DRAMATIC RECONSTRUCTION:

One of the most simple, yet essential, components of The Blind Mans Confession is its use of aural
signposting and dramatic reconstruction. To limit the amount of needless verbal description, the sound
of rain falling, and the wind blowing, is used to tell the listener they are outside. Instinctively, with no
thought or awareness of doing so, we begin visualising a dark, stormy night. This is effective as it
permits the audience to picture a world which has been shaped by their perceptions; instead of
laboriously listing every detail, we are told (roughly) where we are, and left to imagine the
circumstances with the guidance that we have been given. Additionally, the lack of other noise hints at
us being in the middle of nowhere, down a scarcely visited track; as the aforementioned suggests, we
can imagine a long lane void of any light, with civilisation too distant to call on for assistance. This is
an early us of aural signposting in how it helps establish the scene, whilst contributing to an eerie
ambience; very rarely do (fictional) documented accounts of a late night foray into the darkness of an
isolated road end well.
The hastily approaching vehicle is heard to be making a loud revving noise, synonymous with speeding
cars and loud, reckless drivers. This is an insight into their character as we can see that he has little care
and consideration for himself, and anyone he may encounter. At the same time, this is a subtle use of
aural signposting in how we inherently acknowledge the loneliness of the area-we do not hear anything
pass but this. When we partner this with the other information that we have gathered, we are left with a
scene which solidifies our previous image of the surroundings-a seemingly endless trail with many
bends and a deep wood on either side.
Having crashed his car, the narrator is thrown into a nearby body of water. The sound of his frantic
splashing alongside the rippling of the water is our aural signpost to his change of location. Was it not
for this, we would not have a clear comprehension of his change in location other than when he mention
finding himself in the lake. Were we to remove these sound effects, not only would we lose our
theoretical signposts, but the potential to invest as much emotion in the scene; we hear the crash,
followed by very little, followed by the water. Inherently we are alert, knowing that something has gone
terribly wrong. This, coupled with his gasps for oxygen (in an example of dramatic reconstruction)
force us to acknowledge the true seriousness, and terror, of the situation; how terrible must it be to
regain consciousness in the middle of a pond so unexpectedly and unprepared? How would it be
panicking and struggling for air? Again, not only is our location explored through the use of sound, but
the events are re-enacted to heighten the tension-this actually happened, the narrator did almost pass on
in the murky depths of the lake.

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The narrators speech to his captor is one of the more powerful examples of dramatic reconstruction in
the piece. As he informs us of his quandary, he tells us how brain froze, and he rattled off an idiot
list of things. His voice breaks, and the anxiety and agitation is apparent when he mentions he has a
family, a girlfriend who will all miss him. As the piece is largely a flashback (it is presented as a
recount), we know that he is reliving the event in some description; whether this is how he is recreating
the occurrence in his mind, or projecting it aloud, it is inarguably dramatic. This is effective as he does
not merely tell us what he said, he lives it; he recalls the pain and the uncertainty, making it not only
more emotive, but more theatrical and engaging.
Within My Hands Gone Through Glass aural signposting is far less distinctive. Through the opening
seconds, we hear footsteps. We are able to infer that we are in an area of solid ground, due to the
echoing, firm nature they appear to have. From the sound, we imagine the individual travelling across
a hard, stony littered floor. Due to the quietness of the background, and volume of his walk it is possible
to deduce that those involved are far from anything credible, much like in The Blind Mans Confession.
This furthers the possibility that this is a secluded, hard-to-find waterfall, only handful are able to
witness. Equally, it increases the chances of this being a figment of Liams imagination; only what he
wants is present in his dream. When we listen further and hear the sound of the water, alongside the
acknowledgement that this is, in fact, a house of water, we can envision him navigating the rocky passes
surrounding the natural wonder.
As well as indicating where we are, it helps with the dramatic reconstruction-as opposed to one of the
characters telling us that they had to cover some distance to reach this point. We hear them moving and
know that they must be have somewhere to be. This is confirmed when the walker pauses. From this,
and the absence of traffic/suburban noises, we can tell that this incredible building (?) is not in an easily
accessible area, and one must venture into the depths of the unknown. It raises the likelihood of this
being a waterfall due to them often being found deep in forests, or in rural settings, far from large
communities; commonly, they take a good deal of trekking to find.
There are significant discrepancies in The Blind Mans Confession and My Hands Gone Through Glass
in how frequently aural signposting and dramatic reconstruction is used. In the former, both are used
somewhat intensively as a means of enabling the audience to clearly picture the situation, and the
emotions carried by the experience. In order to attain the desired impact, the story must be powerfully
recreated and made to seem as though this is occurring afore us in reality, as opposed to on the radio.
Essentially, we are given all the relevant effects to see our own interpretation of events in our minds
eye. With no visuals to prepare us for what is to come, the audio succeeds in catching us unaware, and
shocking us with what has happened. The latter, however, excels in providing as little information as
possible. This causes us to create our own world, with the skeleton of this universe being forged by the
few aural signposts and reconstructions that we are gifted.

FLASHBACKS:

The main bulk of The Blind Mans Confession is based around a flashback. This informs us that
although the narrator is looking back at the occurrence from an undisclosed period in the future, the
events will forever remain in the present; his ordeal is an inescapable hell that will continue to haunt
and torture him for the rest of his days. The technique is effective in how it presents the protagonists
feeling of helplessness and vulnerability; he must live with the consequences of not only his actions,
but those of the villain as well. Consequently, he is giving us a taster of his mentality, and how his
thoughts are constantly revolving around his mistreatment and permanent scars. At the same time, we
see how these demons that continually plague him have prevented him from finding some element of
closure.

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By having the narrator end the story in the present, we can see that it does not truly end-his unfortunate
time at the hands of a psychopath may have ceased, but the memories and pain incurred are still
alarmingly real. In a juxtaposition, the physical wounds (i.e. his gouged out eyes, cut off tongue...) may
be healing and reaching a stage where the chance of them reopening or becoming infected are lower,
but the mental lacerations are continually being provoked.
As far as can be told, My Hands Gone Through Glass does not use flashbacks. It appears that we are
witnessing the events unfold, as the characters do. This injects a degree of spontaneity as we know as
little as those experiencing it. Likewise, this helps forge a degree of unpredictability-neither the cast nor
us know what is going to happen next.
In terms of this topic, it is evident that there are no similarities between the two dramas. Despite this,
The Blind Mans Confession utilises this incredibly well. It does this in a suitably innovative way; we
have the memory of him being sat with the gun against his skull before he tells us how he became
embroiled in the scenario. Ultimately, this is a flashback within a flashback-a unique concept which
helps engage the audience and retain their focus. Our interest is kept as we want to continue to learn
how these events are linked, and what resulted in him being so deeply involved.

USE OF FADES:

There are no fades within The Blind Mans Confession which makes the piece seem as though it is being
relayed in real time, hence occurring directly in front of us. In other words, we are listening to the story
unfold one item at a time, experiencing everything the narrator does at the same time as he does. This
is not always good as it makes the piece seem to be rather longwinded and ongoing. Additionally, it
does not give us a period to contemplate what has just happened; for the most part, it is one thing after
another with no respite. Resultant of this is our inability to continue to pay our full attention to every
detail. Furthermore, fades would clearly indicate when the location has changed, or even when the
narrator passes in and out of consciousness.
In comparison to this, there is a single use of a fade in My Hands Gone Through Glass, at the end. This
implies that whilst our insight into this peculiar location is over, it still has not finished for the
characters. It also corresponds with the tranquillity, peace and endless flow of the water-none of these
will end abruptly, and neither should are experience here. It is designed to be a mental continuation of
our time spent at this area-it gradually drops out so that we are, to a degree, unaware that it has done so.
This means that we continue to ponder what we have just seen. This is effective as it allows us to
continue consider the events as opposed to simply cutting us off.

CHARACTERISATION:

The narrator is shown to be arrogant (careening around each corner, and racing down the road), with
a desire to live dangerously before he returns to work the following day. As such, he presents himself
as being fearless and narcissistic; at this point in time, all that matters is him, and what he does. This
could be as a means of showing how a single series of events can completely alter how one behaves.
Additionally, due to his irresponsibility, loud taste in music and a reduced comprehension of risks, we
can infer that he is relatively young-perhaps he has recently left school-and is employed in his first fulltime job. It may be due to this sudden implementation of routine that he feels the need to breakout and
live the freely like he was able to do previously.

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During his meeting with the psychopath, he is portrayed in a markedly different light; he has been
hurriedly forced to confront his own mortality and the fact that he could, at the very least, be made to
live a very different light resultant on what occurs next. Consequently, he breaks down, mentioning his
family, friends, jobthe elements of our life we take for granted until we realise that they may be taken
from us. In a sense, we realise that these are both self-centred responses; in both examples he is acting
with his best interests at heart, although the motives are varied; first he is trying to live-experience a
thrill like no other-with only himself to care about, before he is forced to fight to live. Each of these
requires him to consider the effect on his life, and the implications of his choices.
Towards the end of the drama, he is portrayed as being a shadow of his former self-the confidence, the
cockiness, the urge to live is gone. As he mentions the injuries he sustained at the hands of the villain,
he asks why he didnt just finish the job. This tells us that because he has lost the privilege of sight
and going about his business as he did previously, he can no longer (theoretically) see how a way
forward or a mean of coping with the situation.
The antagonist, on the other hand, is seen as being a psychopathic lunatic; he brutally slays a gentleman
who-on seeing the site of the accident-stops to provide assistance. This tells us that he has is not
empathetic or particularly caring of others-he does not provide the said individual with the opportunity
to list his reasons as to why he should be permitted to remain alive. When we examine this in the context
of the drama, we see that he believes in the concept of give and take; because the narrator collided
with the police car that he was being transported in, allowing him to be freed, he gave his victim the
chance to prove why he should live. Furthermore, he is shown to enjoy mentally tormenting those under
his control; he makes them tell him why they deserve to spend another day on Earth, causing them to
ponder the reality and purpose of their existence.
In an obscure sense, the felon is portrayed as being religious. When he speaks, he frequently mentions
a more powerful entity, noting how he is not one to f**k with God but will occasionally step on his
toes. From this we can infer that although he does not see himself as being on the same level as a
heavenly presence, he does believe that he has the authority to alter the set path of a life. Equally, when
the protagonist says that he will commit to God, (he) will go to Church his tone seems to soften for a
short moment as though his apparently heartless crimes are undertaken as a way of forcing sinners to
repent and change their ways. Disturbingly, the wounds the character sustains are reminiscent of a
passage of the Bible-See no Evil, Speak no Evil, Hear no Evil. As such, the eyes and tongue are removed
as a means of preventing this. It is also an act of self-preservation-how can the afflicted expose him if
he is unable to talk, or see him?
The characters are less clearly defined in My Hands Gone Through Glass. Clearly, Liam is shown as
being the more reluctant and cautious of the pair. Seemingly bowled over by what he is seeing he does
not know how to proceed, or whether it is real-upon viewing the scene he says that one could almost
touch it, implying that it either looks too beautiful to touch (like a work of art) or too dangerous
(hence the reason why he believes it is made of glass). From this, we can see that he is able to view
attractiveness on a surface level, but not see the potential perils that lurk beneath the exterior. As well
as this, it is suggests that he is easily manipulated; when his companion mentions that he can (touch
it), he does so instinctively, as if his hesitations are suddenly invalidated.
We also get the impression that he is considerate and respectful of his surroundings and those who he
is with, unlike the speaker in The Blind Mans Confession; as opposed to immediately touching the
waterfall (or whatever it truly is) he first admires it, before inadvertently seeking approval to proceed
to experiencing it on a deeper level. At the same time, this allows us to see him as being wary of this
new location; he does not wish to implicate himself in a predicament that he is unable to escape from,
nor does he want to intrude on this area that he has not before visited.

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An even smaller amount of information is given to us regarding Liams acquaintance. It is possible to
infer from his tone of voice and the ease with which he persuades his counterpart to touch the House
of Water that he is a charismatic individual. This is emphasised when he encourages his presumed
friend to approach the structure; there is a slight element of sinister goading to his voice, when he says
In you go, Liam which suggests that his charm may be a front to entice people to this location. This
accentuates his persuasiveness as it shows us that he is able to encourage others to not only visit this
location but actually go through the water. As such, we are able to imagine him as being the
stereotypical English gentleman with good manners and a pleasant nature, who also has a dark side.
Unlike with The Blind Mans Confession, there is no definitive evidence to suggest that he is villainous
or detrimental to the other characters in any sense.
Both dramas have a cast that peak our curiosity, they are largely mysterious-and whilst they contribute
to the story-they do not give us extensive features or personality traits to base our perceptions on.
Additionally, in each, one character remains nameless as a means of keeping us intrigued and asking
questions relating to the plot and those involved. Within The Blind Mans Confession, this is effective
as we do not require copious amounts of background knowledge to feel sympathy for the protagonist
and relate him back to someone we know. Likewise, what makes the villain so unsettling is how
enigmatic he is; we know nothing of him, where he has come from or his motives-he could be anyone.
In My Hands Gone Through Glass, on the other hand, we uncover even less. When we partner this with
the ambiguous mood that is present throughout, it is suggested that the no single person has a full
comprehension of their location, and what they are experiencing.

CLIFF HANGER ENDINGS:

The Blind Mans Confession does not have a cliff hanger in the conventional sense. Although we find
resolution in the speaker telling us how he suffered but recovered in hospital, his fear remains; this is
evident from when he notes that he does not know where the antagonist is, but wants him to know that
he kept his promise. It is from how vague he is regarding the aftermath that we feel a desire to probe
him further, and unearth the secrets of his turmoil that he has kept hidden for so long. Ultimately, we
have a longing to be told more about how this has affected him, in contrast, the actions and whereabouts
of the villain.
Much like the above, My Hands Gone Through Glass, provides little of a conclusion for the audience.
None of our questions are answered, nor are we given any explanation as to what is occurring. Because
of this, we finish listening to the piece with as little understanding as we began with. It is based on this
that we want there to be more to it, we feel as though we need to know what follows this brief encounter
that we have had.
Both are successful in securing our attention and imaginations as due to denial of information, we are
forced to fill in the blanks and create solutions and further details for ourselves.

CHRONOLOGICAL DEVELOPMENT, DEVELOPMENT OF PLOT AND

NARRATIVE STRUCTURE:

The Blind Mans Confession develops in a principally non-chronological manner. On its opening, we
believe he is starting from the end, only to recount how he winded up in this circumstance. This is later
shown to be untrue. As mentioned previously in this document, it is essentially a flashback within a
flashback. The initial recollection is structured in a cyclical manner, which aids us in following his

12
story, and feeling the confusion that he does; because there is a degree of uncertainty as to the events
and the end being the beginning we are left experiencing the same disorientation as the narrator. By
doing this, we can infer that, for him, his ordeal becomes real when he has the gun pressed against his
head; that is the point he can most vividly recall, and must work back from there in order to make sense
of the horrors he has endured.
Additionally, the audience would not be so entranced by an opening which merely details him driving
along a road; we want to be drawn in by ominous scripting that requires us to listen to the entirety of
the piece in order to understand its content. As we do not have visuals, to present it in a way that was
completely non-linear and jumped to and fro between sections would make it almost entirely impossible
to comprehend.
This aids in the development of the plot as it corresponds with his mental state-unsure and not certain
of the appropriate way to proceed. At the same time, his memory starts of shaky, perhaps dominated by
a reluctance to remember what happened to him, before it solidifies and continues in an ordered manner.
Furthermore, he content does not require the audience to have any prior knowledge; it is a standalone
story that does not build based around a previous episode.
In terms of the narrative structure, this goes against Tzvetan Todorovs theory of equilibrium; we do
not begin in a state of peace and ease, but instead one which raises concern and informs us that the
narrator is in a dangerous position. Despite this, through the flashback, we see how the equilibrium was
disturbed, and how the new-equilibrium was attained through the antagonist eventually leaving him to
his own devices, and live with the consequences.
My Hands Gone Through Glass, in contrast, is chronological in how it progresses. This represents how
the characters progress in a straightforward manner-this is not a recollection, or dream (that we are
aware of) hence we view it as though it is occurring one event after another. This is not a cycle, but a
natural progression. As such, this enhances the wonder that we feel as we are hearing of this location
for the first time, alongside Liam. Much like The Blind Mans Confession, was this to be presented in a
non-linear way, we would lose any understanding that we had attained based on its already ambiguous
nature.
By starting at their arrival at the house, we are able to join the duo on their exploration, witnessing the
entire length of their adventure. If we were to begin at any point other than the beginning, this would
seem totally nonsensical as the content of the piece is somewhat peculiar and requires careful listening
to be able to interpret it. As such, the plot development is simple in how we do not go back and forth
between memories or thoughts. At the same time, the storys evolution is rather complex and requires
examination and contemplation by the audience. This helps retain their focus as they must continually
pay attention or be at risk of missing a detail that may aid their interpretation.
Unlike with The Blind Mans Confession, there does not appear to be clear establishment of equilibrium
or dis-equilibrium. This implies that whilst the area is beautiful and a sight like no other, the atmosphere
is nonchalant; perhaps there are no imminent threats or overriding feelings of happiness, anger fear etc.
By utilising this unconventional format, we are left asking questions that relate to how the progression
of the tale, and where it goes from this point.

DIRECT SPEECH AND NARRATION:

Within The Blind Mans Confession the primary speaker talks as though he is recounting his story a
listener in his presence. He serves not only as the narrator but the main character in his tale. As such,
he uses the word you to directly implicate the audience; we inadvertently begin considering what he

13
is saying if we are asked/involved with the escalation of events. Furthermore, it acts as a good way of
describing features or environments that may not ordinarily be noted, i.e. the late October night, (my)
oxygen tanks brandishing on empty and the way in which he careened around each corner as opposed
to speeding. It is these extra details that help make the piece as visceral and vivid as it is; for example,
where we not to know that it was dark, cold and autumnal, a certain edge would be lost due to how we
inherently associate bad acts with night time and isolation.
Whilst direct speech is used when the protagonist pleads to the villain to allow his life to be spared, we
there is little of a reliance on it to set the mood or provide us with description. This could be as a means
of conveying how he only has his own thoughts for company whilst driving down this winding road,
encased in gloom. Alternatively, it may be reiterating how he does not wish to relive the atrocities he
witnessed, and was put through; by not recalling the exact conversations he had on that fateful evening,
he is able to fool himself into believing that this is a twisted figment of his imagination. The combination
of commentary and discussion is effective as it aids in the creation of a mood reminiscent of recalling
a negative period or nightmare; we remember the key details, just not every exchange that was carried
out.
My Hands Gone Through Glass is the antithesis to this; all of our information comes from direct
speech. By not having a narrator, we must listen to what is being discussed so as we can attain every
detail that we require to understand the piece. Additionally, it disassociates us from how it is actually
fictional; it is almost as if we are hearing the drama unfold in front of us instead of being told the
specifications as to when and where it occurred. It is through the inquisitiveness of Liam, and the retorts
of his companion that we are able to have a minority of our queries and concerns addressed.
Furthermore, whilst there is no narrator, the conversation is guided by the character who goes unnamed.
He ensures that all relevant material is relayed to us, without giving away anything that may cause the
mysticism and enigma of the piece to be disrupted. It is this same individual who addresses the curiosity
of Liam and ourselves, granting us at least some clarification in the form of telling us that we are afore
a House of Water, and not glass.
Whilst this is largely positive in how we are granted a unique look on this world and hear it develop
through the opinions and statements of others, one cannot help but wonder whether more information
from a narrator-like in The Blind Mans Confession-would give us a clearer picture of where we are,
and grant us a more solid comprehension of the plot.

DRAMA STYLES AND APPROPRIATENESS TO TARGET AUDIENCE:

The Blind Mans Confession conforms to the horror genre in how it creates suspense by gradually
escalating the intensity of the situation and the severity of the obstacles he encounters. Furthermore, it
includes a graphic (to some) depiction of human mutilation that could prove to be distressing or
disturbing to some listeners. Additionally, it includes the stereotypically egotistical lead character who
gets broken and brutalised by the psychopathic antagonist. It serves to demonstrate that a chilling story
can still be created with the absence of an accompanying film or visual demonstrations of slaughter.
It is based on this that the piece is suitable for those aged 16 onwards. As it is cannot be considered to
be terrifying, it is the perfect story for younger fans of the style or for those who are easily unnerved
and searching for a thrill. In addition to this, there are examples of bad language, such as the F-word,
and descriptions of carnage that prove to be inappropriate for those younger than the target audience.
The ambiguity of My Hands Gone Through Glass means that it can be classified as being a mysterious
drama; whilst we know very little, the piece works by portraying the emotional reactions of the

14
characters in response to their arrival at the house. Additionally, the loose friendship that the two
seemingly share aids in the relational aspect of conforming to this style; we want to know how this will
develop and evolve. By partnering this with the lack of knowledge we have in regards to what is
occurring, it ensures that we listen to any future episodes to see how the piece continues and concludes.
Consequently, this is appropriate for a more mature audience who enjoy less of a clear cut story, with a
peculiar vibe. Although there are no profanities, a younger listener may become tired of the lack of
development and obvious plot. By targeting this to those in their late twenties and over, there is less of
a risk of the story falling on deaf ears and being disregarded; the older audience may enjoy making
inferences and interpretations where a teenager does not.

DURATION AND TITLES AND CREDITS:

The Blind Mans Confession is 12 minutes in length. This is positive as it is not so long as we lose
interest, or so short that we do not become interested. It enables us to be given a plethora of information
that aids in our mental construction of the scene, and our comprehension of the plot and its development.
Additionally, the sentences of the protagonist correspond with how the duration of the drama; both are
extended and flowing to guide us through the story. Furthermore, it covers all bases and leaves very
little room for questions; we are told most of what we need to know, and are left only to wonder about
the identity of the antagonist.
In terms of titles, a speaker introduces himself as being Fred Greenhalgh of Final Rune Productions,
before telling the audience how they are able to donate. Proceeding this, a dramatic voice begins by
informing us of the name of the piece-The Blind Mans Confession. This helps create a sense of unease
in how we instinctively know that something big will be happening in the coming minutes; a childrens
story is not read out in this overtly theatrical manner. In turn, this makes us excited to see what kind of
scenario will be unfolding before us, and how the protagonist will respond to them. The credits repeat
the title before explaining that it written, produced and edited by Greehalgh, who also voiced the lead
character. It goes on to list that John Coons played the killer, and Barry Hilton as the truck driver. This
is useful as we are able to discover who was who, and uncover more of the casts work. Additionally, it
tells us that a radio drama does not just come together, it takes real people and hours of hard work.
In contrast to The Blind Mans Confession, My Hands Gone Through Glass, is a mere 57 seconds. The
short length means that the audience is required to listen carefully is see if there are any hidden
indicators of what is going on that the speakers fail to mention, i.e. is there any use of subtle aural
signposting that we may otherwise miss? It is also a more digestible size for the content; were we to
listen to ten minutes of the two males confusion and amazement we would lose interest in the repetitive
scene. Instead, by having a minute segment, we are perplexed as attain a desire to listen to more.
There are no titles or credits, furthering the obscurity created by the drama. This helps with isolating
the listener from the notion that they are hearing a story, and are instead bearing witness to an event
happening directly in front of them. When we are able to imagine the scene in our minds eye, this is a
very effective technique.

As can be seen, there is an extensive amount of techniques, codes and conventions which are present
within radio dramas. Likewise, similarities can be as frequent as differences in two outwardly different
productions. It is with this that we are able to conclude this essay with a new found respect for this form
of media.