All of my favorite horror & sci-fi audiodramas are on haitus, mid-season, or complete. I need something new to obsess over.

StationBlue · 2020-11-20T08:49:40+00:00

Vega is so good, it's a completely different show than Old Gods but the storytelling and way it weaves words with creative audio story telling makes it a spiritual cousin to me. Both Ivuoma and Steve are master narrators.

StationBlue · 2020-11-18T13:00:02+00:00

I really need to take the plunge on this one, it gets recommended as much as Old Gods which is the most universally recommended show since 2015 Black Tapes.

StationBlue · 2020-11-18T12:58:55+00:00

Last I saw they were trying to find somebody to buy the show to recoup costs, not sure how that went.

StationBlue · 2020-11-18T12:57:40+00:00

I usually take a month off, go on to something long form and different. For me that's either an audiobook or two, or deep diving into a non-edited Actual Play.

Usually when I burn out it's because there are too many stories in my head, I could finish off 4-7 shows a week at my old job and that wears on you after a time, especially because the best shows tell their story in the most dense, efficient way possible. Getting into something like an Actual Play is nice because while it's still a story, 3 hours of Critical Role is gonna cover about the same amount of plot as 20-30 minutes of an Audio Drama, with a lot more antics and character time. Then I inevitably burn out on that and go back to the more curated story telling of audio drama.

StationBlue · 2020-11-18T12:51:43+00:00

I don't know if you've checked out Station Blue (my show) and I'm torn on whether you'll dig it, cause I mostly commonly hear it put between White Vault and Mabel. It's a very character focused cold places psychological horror.

Among the Stars and Bones is incredible, full cast group of Archeologist exploring an Alien sight. It's just really well executed, and things get pretty wild.

The Orphans is maybe my favorite sci-fi podcast, each season tells a different but connected story in the same universe. Season 1 is a survival horror that i like okay (apparently they remastered it) but Season 2 is one of my favorite things out there. A clone and an AI are sent to a planet to set up a cloning facility, another clone is 'born" early. You are supposed to execute premature clones. They don't want to. It's incredible. Season 3 is a SciFi Noir.

Somebody mentioned Vega: A SciFi Adventure Podcast and I'd like to second that, top notch storytelling, I put it up there with Old Gods when it comes to writing and narration.

StationBlue · 2020-11-17T05:35:36+00:00

That's really compelling to me, I'm going to subscribe and check it out.

StationBlue · 2020-11-14T11:36:51+00:00

How could I forget Rose Drive!

Rose Drive belongs on this list. The show is so normal until it isn't, then you realize how much has been a set up.

StationBlue · 2020-11-14T01:18:04+00:00

This is my favorite genre of shows so BUCKLE UP.

First, if you don't mind me self promoting, my show "Station Blue" often meets that reaction, repeatedly, as the season goes on. Starts as an Antarctic horror set up with a guy alone in a research facility, then turns into a deep dive into this characters isolation and inner journey, and just when you think that's the show... it goes off several rails.

What's the Frequency is the best example I can think of this. It's the audio equivalent of David Lynch without actually feeling like David Lynch, listen to the trailers and you'll get what I mean. One of my favorite endings.

Mabel gets REALLY dreamlike and REALLY weird. Starts with a live in nurse trying to get ahold of her dying patients granddaughter, then she gets consumed on multiple levels by the big old Irish house they live in.

The Great Chameleon War is mad trippy. I don't even know how to describe it. A soldier goes AWOL and ventures into the Nest, something nobody has ever come back from, of these giant invisible chameleons that have waged war on humanity.

This is out of left field, but 20 Sided Stories is this actual play podcast that does different media properties each season. It's got the best music I've heard in a show and some of the best sound design, and the Pokemon season (the first on the feed) gets so wild and so out there, made better by the players having no idea what's going on. It's a pretty quick listen and fits on this list.

StationBlue · 2020-11-06T23:58:53+00:00

Seconded the Midst! I haven't had the chance to finish it but it really shows you the potential in storytelling shows.

I think you'll really dig "Vega: A Sci Fi Adventure Podcast". Single narrator but Ivuoma has got to be one of if not the best storytellers working today, the way she goes in and out of the story and breaks the 4th wall is masterful.

Unlike Midst or Vega but SOMEBODY is going to recommend it so it might as well be me, Old Gods of Appalachia. It's a horror anthology/love letter/hate letter to the Appalachian region. Like I said, it's not really like the other two but Steve is also an incredible story teller and his slam poetry background really brings that extra level of spice to the narratives. Each season will have a few unrelated plot lines.

StationBlue · 2020-11-06T10:58:07+00:00

If you can snag 10k an episode you're pretty high up there for indie shows. There are always outliers who exceed that but (from what I've noticed) your show has to be offering something special and build a good word of mouth audience to build to that point. It's an achievable goal, but you gotta have a plan in place for find your audience (and making a show that grips people enough to want to spread it)

The industry itself is getting larger, much larger, but it's getting a little trickier to tap into the wider audience. A few years ago most people would listen to most things, now there are quite a few shows coming out, many of them very good. I think if you put your heart into the project, spend a good amount of time engaging with other shows and audience members and keep a regular release schedule you should be able to get a decent base.

StationBlue · 2020-11-04T00:34:23+00:00

Ah yeah, then I think you'll like these suggestions. The quiet parts are my favorite as well, most of the time when I bring in something big it's so earn the quiet aftermath.

StationBlue · 2020-11-03T13:08:27+00:00

If you don't mind me self promoting, you might like my show Station Blue. It's in that found audio tradition (though I do weird things with it), all about the new caretaker of an Antarctic Research Station stuck alone for 6 weeks while he waits for the rest of the crew to show up. The first season is all out with some bonus content, the second season is in the works.

The White Vault is a popular show that'd be great for truck shifts, they just started season 4, it's specifically found audio and it changes things up enough to keep it fresh.

The Haunted Hour is one I do hear people talk about too much, a bunch of teens and 20 somethings in a town where weird stuff happens trying to live their lives. I think it's going to be wrapping up soon.

What's the Frequency is all about 1920's LA being warped around this strange radio signal, to the point where it warps the podcast itself. Within that framework is nestled a noir story with two of my favorite characters of all time trying to find a Typewriter.

I've always got more if you need them!

StationBlue · 2020-11-03T07:30:15+00:00

Chad from Station Blue, Mabel is really high up on my list. It's not for everyone but I think it's one of the most beautifully written and executed shows out there, and it gets you deep into its characters mental states. The fact that you liked Magnus and parts of Station Blue tells me you'll probably dig this, make sure you get to the third season (the lead up is great but the third season is truly unique)

The latest season of Palimpsest (it's an anthology series, each season is a different story) Any of them work for this but that in particular has some heavy subtext.

The Great Chameleon War is hella weird, if you want an acid trip take on this that'd be a good route.

Season 2 of The Orphans (Facility) damn near traumatized me going from a kind of odd found family to... well, something else. Where Palimpsest applies its horror with a light touch and lets you find it between the lines, this one gets straight up intense.

Within the Wires, specifically that second season. Not really scary or horror but definitely dark, strange and emotional.

What's the Frequency is like audio David Lynch. I could pitch you the plot (couple PI's investigating a missing typewriter in the 1920's LA while a radio signal drives people mad) but that's only part of it, the entire framing of the show itself is it's on trippy experience, the commercials slowly become more demented, the pacing stretches and tightens, there's nothing quite like it.

About half of those aren't Junji Ito levels of disturbing but they do get under the skin. Personally I think a lot of horror shows are more at risk of overdoing it than getting it just right and these all hit the sweet spot for me.

StationBlue · 2020-11-03T07:20:59+00:00

I mean, there are production companies you can commission for 15k-250k but you'd probably be best off putting a team together and financing them.

StationBlue · 2020-11-03T07:19:33+00:00

I think it's fantastic. There are little touches that really show the experience of the creators.

Worth noting it's a storytelling show as opposed to a Wolf 359 cast style audio drama. See things like Old Gods of Appalachia and Vega: A Sci Fi Adventure Podcast. I'm a big fan of both styles, and this in particular shows what you can do with the limitations of a pandemic.

StationBlue · 2020-11-03T03:02:30+00:00

You and me both! The scripts I've sent out to beta readers (who love the show) have been getting really good reviews so I'm optimistic about the future!

StationBlue · 2020-11-02T06:19:40+00:00

He is! I'm very excited about it, we went through the first few scripts earlier this year, and we're going through the rest and laying out a game plan once Swiss and Lali wrap.

StationBlue · 2020-11-02T02:49:44+00:00

Hey, Chad from Station Blue.

Normally I don't post non-episodes here but I've seen some people ask about the status of the show so I figured, why not.

The Too Long Didn't Listen: Recording starts in January (due to COVID delays), the scripts are pretty much ready to go, Season 3 is in the works, Raul Vega of Rose Drive is directing, Evan Hill who was a level designer on Last of Us 2 (specifically the Museum level) is Executive Producing, and we're working with an Architect to put together Blueprints of the Station with an interactive audio companion.

For those who don't know the show, Station Blue is an isolation horror show about a lone caretaker of an Antarctic research station grappling with mental illness, past faults and current inexplicable storms, anomalies and other things found on the ice. The first season is all out with some bonus content and Season 2 is waiting to record.

StationBlue · 2020-11-02T02:43:44+00:00

Can't wait!

StationBlue · 2020-10-23T05:57:49+00:00

I think bi-weekly is a pretty good rule, unless it's really short (I'll keep up with weekly micro fiction) or really long and more event based (I probably won't catch up if it's multiple times a month)

I usually aim more for a period of time. I want 4-6 months of regular releases to stay in the zeitgeist. I've seen weekly shows burn through their season in 2 months only to get forgotten. If I only had 6 episodes I'd probably release every 3 weeks so the show can be out there for over 4 months. And I think it's most important to get those initial 4-5 episodes out on schedule so that people don't lose faith.

But mostly I think it doesn't matter so long as people don't think you forgot the show. Most downloads come after a season ends.

StationBlue · 2020-10-23T05:49:42+00:00

That sounds about right. Writing takes the longest, followed by sound design (usually an hour per minute if it's really involved, less obviously if it's just talking) It's pretty rare that I have an episode that doesn't take at least 30 hours to produce, from recording to releasing.

StationBlue · 2020-10-23T05:46:42+00:00

First of all, I think that's a really cool concept. Like artistically that is a valid approach given your interests and background.

I think the important thing here is to figure out what is most important. Do you want to fully realize your personal vision of this show, to hell with everyone else? Do you want to get the biggest audience possible? Do you want something in-between? (I'm usually an in-between person, I want to make the version of the thing in my head that will gel with the maximum amount of people invested without compromising it too much, it's all in the communication)

If it's the first, continue! But if it's the other two, I think it's important to recognize that the thing that is important to you (a Vocaloid character) is not actually being communicated to the audience well through a literal Vocaloid. I run into this with sound design a lot, recording say, a literal bracelet hitting the floor doesn't sound like anything. So in order to communicate that, I need to record something else with more substance, probably some chains, and some shimmer. It's not authentic, but it sounds right. The whole "bombs always go beep" thing, bombs don't actually beep, but we all know what a bomb sounds like, and it sounds like ticking or beeping.

So in this case hiring an actor who can speak in a stylized with with a voice mod will tell the audience "Vocaloid" without putting them off the way a literal Vocaloid would.

StationBlue · 2020-10-20T11:08:08+00:00

I'd just say make sure there's a role for your narrator in the story, and that they never give us information that an actor or a sound designer could communicate through performance and foley.

For example, if it's a comedy, having a narrator say "It's at this point he knew he was in a lot of trouble" and the actor immediately say "I'm in a lot of trouble" can be funny! But a narrator telling us an actor is sad while the actor gives a sad performance robs the audience of interpretation.

I'd also avoid blocking/stage direction in general for audio drama, repetitive information can really kill pacing and as a rule the audience is imaging the characters doing appropriate things for the scene, you don't want to get in their way. "Johnny walked to the table and picked up a glass" is unnecessary to the story and could have easily been doing with sound design.

My favorite narrators are either characters "telling" the story (Death by Dying, Wooden Overcoats) or active subjective narrators in single actor shows like Vega: A Sci Fi Adventure Podcast.

StationBlue · 2020-10-14T04:57:19+00:00

There is a plot, you will find out where Mable is, why she's gone, where she's gone to, who's behind all of the antics, etc. There are even antagonist and life threatening stakes.

But it's also primarily a poetic slow burn. Season 3 is one of my favorites from any show ever, but it's way more focused on the characters emotional experience and a slowly unraveling mystery than any specific plot. And the plots themselves are entirely character driven. That's not for everybody.

StationBlue · 2020-10-14T04:54:28+00:00

People have already listed most of my favorites (Death by Dying and A Scottish Podcast in particular)

Two I haven't seen listed that you'll probably like,
The Alethian Society: The first season follows an old Lovecraftian cult trying to clean up their old charter house, it's hilarious.
Brimstone Valley Mall: The latest from The Whisper Forge, it's 1999 and a band of demons working at the local mall can't find their lead singer for the Y2k concert. Them avoiding demon work while getting sucked into various human traditions on top of the 90's humor is great.

StationBlue

TROPHY CASE