The state of audio drama in 2020 is wildly altered from ten years ago when audio, or rather radio drama, was in abatement across much of the English-speaking world. Drama had been alone from radio stations in the US, was being phased out from accepted alert in Canada, and faced budget cuts in the UK and Ireland.

The roots of the reinvention go back to the early 1980s. Adaptations like the BBC’s Hitchhiker’s Guide to the Galaxy, Lord of the Rings, and NPR/BBC’s Star Wars afflicted how radio drama was viewed. They gave rise to a later audio movie style and aggressive a new bearing of independents.

These “indie” producers pioneered the awakening of the medium. Digitization of sound-design during the 1990s and 2000s put the means of assembly back into the hands of hobbyist creatives. However, accepting shows to audiences was costly and difficult; that was until podcasting delivered belief direct to iPods in 2003.

When the drama advertise Radio Drama Awakening was launched as a podcast in 2007, single-piece shows for CD, web, or radio made up the majority of output; these were soon replaced by podcast serials that could reach a global audience.

Podcast generation

Just as radio was acid back in 2009, a range of new sci-fi podcast epics in the US, like the Byron Chronicles, Edict Zero – FIS, and We’re Alive took advantage of the new medium, enabling fans to binge-listen on MP3 players.

Zombie drama We’re Alive mirrored techniques from the beforehand “audio-movie” movement, with an accent on action and multilayered sound mixed for speakers. The more chatty chat and anecdotal commitment paralleled trends in television, anxiety the later absolution of the hit show The Walking Dead. In the first year, downloads of We’re Alive were in the hundreds; ten years later they were in the hundreds of millions.