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ghostflowerdreams · 11 months

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Audio Drama Recommendations, Pt. III

Click here for part one and here for part two. Recently, I've been drawing a lot, which gives me plenty of time to listen to audio dramas and podcasts. These are the ones I liked the most and found entertaining enough to recommend to others. This is not in any particular order, either.

The Green Horizon – is a sci-fi comedy drama created and written by Paul Walsh. It is sponsored by Faustian Nonsense, an indie entertainment network. It currently has three seasons, with each episode being about 20 - 30 minutes long, but later on it increases to 30 - 40 minutes. A fourth season is said to be coming out soon as well.

It is set in the year 2261, and it focuses on a ne'er-do-well Irish space captain and his rag-tag crew, as they traverse a war-torn Galaxy in search of fame and fortune. [ONGOING]

It was a little chaotic and rough at the beginning, but it does smooth out and become more polished. I can definitely tell that they up their game with the improved sound effects and production quality. The voice actors and the writing for the audio drama does an excellent job at bringing their characters to life, which made it very fun to follow along.

If you like Firefly, Red Dwarf, Orville, Cowboy Bepop, and so on then I think you may enjoy this too.

DERELICT – is a sci-fi narrative audio drama from award-winning science fiction author J. Barton Mitchell, and produced by Night Rocket Productions. It currently has one season titled FATHOM, which consist of 10 episodes with each one ranging from 40 mins to an hour, mostly the latter.

Something has been found at the bottom of Earth's ocean. An ancient artifact that can only be described as a giant door, inset into the sea floor. It becomes known as the Vault. A gigantic enigma, buried and forgotten...nineteen thousand feet down.

To study the artifact, the galaxy's most powerful corporation, Maas-Dorian, has built a massive, self-contained, secret laboratory base surrounding it, named FATHOM. It's objective: unlock the secrets of the artifact and discover what it holds. But some mysteries should remain buried. And some doors should never be opened... [ONGOING]

DERELICT started as the first project set up as a kickstarter. They produced one episode to entice backers, but then the pandemic happened, and they didn’t raise enough money for the rest of it. Instead, they worked on a prequel season called FATHOM. It's where the story really starts, and I highly suggest you listen to it before listening to "DERELICT E1 - Through the Gate."

I hope they redo the DERELICT's first episode because there's a bit of disconnection from it and FATHOM. For example, Sarah and Agent Blayne already know each other. She mentions it to the others, but the conversation they have with each other doesn’t make it seem that way.

Never mind. I apparently confused this Sarah with the Sarah in FATHOM. Can't blame me for thinking that when I heard the name Sarah and that she was already familiar with Agent Blayne.

Deviser – is a sci-fi horror audio drama created, directed, acted and produced by Harlan Guthrie. The same creator of Malevolent. It's a 7-part limited series, with each episode being about 20 mins long.

Son wakes up aboard a spaceship bound for earth in an effort to recolonize. What he discovers, however, will change everything he knows about his world and himself. [COMPLETED]

It's not for everyone, so please do not ignore the content warnings because there's graphic description of violence, self harm, body horror, gore, animal death/being hurt, and what not.

Victoriocity – is a detective comedy audio drama written by Chris and Jen Sugden, directed by Nathan Peter Grassi and produced by Dominic Hargreaves. It is an entirely independent production. It has two seasons, containing 13 episodes in total, and each one is about 30 to 45 minutes long. There's also a feature-length special and a up-coming third season with the help of a kickstarter.

It is 1887 in Even Greater London, an alternate steampunk Victorian London, where Queen Victoria reigns even after being assassinated eleven times, thanks to the wonders of modern science.

In this vast metropolis, Inspector Archibald Fleet and journalist Clara Entwhistle investigate a murder, only to find themselves at the centre of a conspiracy of impossible proportions. [ONGOING]

It's put together so well, and I see why people say it gives off strong Douglas Adams and Terry Pratchett vibes to it. So if you like their works, then I wouldn't be surprised to hear that you like this too.

Impact Winter – is an apocalyptic vampire audio drama created and written by Travis Beacham (Carnival Row, Pacific Rim). It has two seasons containing 22 episodes in total and each one is about 17 to 30 minutes long.

“They came after the impact and the firestorms. When the sun went dark. Like they’d been there all along. Just waiting.”

In the British countryside, a band of survivors forms a resistance in the fallout shelter of a medieval castle. Darcy is a battle-tested vampire hunter who is at the front line, leading the charge to save humanity. Meanwhile, her younger sister Hope wants life to return to normal so she can go above ground and know what it’s like to live again. And she just might be willing to risk it all. [ONGOING]

It has a stacked cast led by Holliday Grainger (Cinderella, Great Expectations), Esme Creed-Miles (Hanna, The Legend of Vox Machina), Liam Cunningham (Games of Thrones, Hunger), Himesh Patel (Station Eleven, Tenet), David Gyasi (Interstellar, Carnival Row), Caroline Ford (Carnival Row, Nekrotronic), Chloe Pirrie (Emma, Carnival Row), and Bella Ramsey (Games of Thrones, The Last of Us).

This reminded me a lot of the film 30 Days of Nights (2007) with a little bit of Reign of Fire (2002), which were both fun films to watch. I think if you like those two, especially the former, you'll enjoy this or at least be entertained by it.

A Voice From Darkness – is a scripted paranormal horror audio drama. It is written and produced by Jac Rhys. It currently has two seasons, containing 20 episodes in total and each one is about 20 to 30 minutes long. It also has 7 bonus voicemail episodes and 15 Patreon exclusive episodes which are longer than the main episodes. A third season in the works as well.

Join parapsychologist and radio broadcaster Dr. Malcolm Ryder as he helps those who suffer the supernatural, paranormal or otherworldly problems on his call-in radio show. It is also interspersed with segments, one of which is called 'Today In Odd America' that delves into the origins of a holiday, local traditions, and history. [ONGOING]

If you like Welcome To Night Vale then I think you'll like this too. A Voice From Darkness is a bit more serious and not as long-drawn as Night Vale was, with a perfect mix of storytelling and lore. It also reminds me a bit of The Magnus Archive too.

How i Died – is a mystery audio drama that brings a "new twist on the true crime genre." It is an Audiohm Media original production, co-starring Vince Dajani as Jon Spacer and Shaina Waring as Sheriff Fran Crowley. It currently has three seasons with 39 episodes in total, not including bonus episodes. Each episode is usually about 20 mins, give or take a few minutes.

Bodies are piling up in the strange town of Springfield, and forensic pathologist Jonathan Spacer intends to find out why. But, Jon isn’t without his own secrets… He can talk to the dead, for starters. [ONGOING]

Ooo, a character that can speak to the dead? It's always so interesting to see what they'll do with their ability and where the creators take them. This has been entertaining, but at times I do think they can do better in developing their characters a bit more. For example, I can count on one hand the number of times Crowley doesn't get angry. Though to be fair, Jon isn't an immediately likable character, but that does change the further you go...sorta.

The Amelia Project – is a comedy fiction audio drama created, written, directed, produced and edited by Philip Thorne and Øystein Ulsberg Brager for Imploding Fictions and The Fable and Folly Network. It currently has four seasons, with a fifth one on the way. There's about 72 episodes, not including prologue, special, and BTS episodes which would up the total to 122. Each episode also varies in length from 20 to 45 minutes long.

The Amelia Project is a secret agency that fakes its clients' deaths, then lets them reappear with a brand-new identity. A black comedy full of secrets, twists... and cocoa. The series starts as a succession of interviews with clients who want to fake their deaths, then slowly a larger narrative begins to emerge... Each episode tells its own story, but we recommend starting with Season 1. [ONGOING]

It was fun to listen to while I was drawing or washing the dishes. I could also follow along without becoming too distracted by it, either. I was worried it would be one of those that take a while to get to the main overall story, but thankfully it did not. It will definitely keep you entertained and interested to know what will happen next.

Community Cat News – is a neighborhood news show done from the perspective of cats. There's currently 13 episodes so far and each one varies from 5 to 12 minutes long.

Local News: The human is opening the fridge! Will we get a taste?

Foreign Affairs: What are those squirrels up to now?

Traffic: WHY is the bathroom door shut again?

Every episode is sponsored by Meow Meow Puffytail, Feline Rights Attorney, who is ready to sue your human for even the slightest inconvenience. [ONGONG]

It's cute, light-hearted, and funny. I didn't expect to enjoy this as much as I did. It even uplifted my mood without me realizing I was feeling low.

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spnwin-reader · 7 months

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Loss in common:

Enter Millie, The Prickly-but-Hopeful Fixer

[We note that, even after all this time, Millie's building carries the MoL Aquarian star of protection, and it's still Winchester Garage, not...whatever-her-maiden-name is.]

When we first meet Millie, she's bitter. As the one who "kept the lantern on," "the one who stayed," she's hurt and defensive, a lot like how Dean grows to be in latter seasons of SPN.

(Even post-demonicity, Dean is still expected to be the soft place to fall for everyone. Even after Jack kills Mary, Cas has this expectation of Dean's soft-heartedness: "it's possible he could work through this. One day, he may explode and let it all out and breathe deeply and move on.")

Anyway, Millie!

Her reunion with John is part passive-aggressive but loving. We see that Millie, like Dean, has intense abandonment trauma. She speaks abrasively-but-affectionately. She calls John "Kid, Kiddo, etc." which was a go-to with Dean for both Claire Novak and Jack Kline.

JOHN: Love what you've done with the place. MILLIE (passive-aggressive): Well, my husband and son walked out on me, so. It's the best I could do. (growing emotional) Dammit. Welcome home, Kiddo.

Gruff, abrasive, imperfect? Maybe. But full of love.

Alt John and Millie are united by the common loss of Henry, just as Prime John, Sam, and Dean were united by the common loss of Mary.

John thinks Henry walked out on them, but I think Millie is likely more complex. With her tacit knowledge of the Men of Letters, I think it's reasonable that she at least suspects that he might be dead.

What does that tell us about her? It tells us that the loss of Henry was unbelievably painful--it's probably easier for her to consider he left than the very likely truth: his demise.

She's a fixer. That's what she does.

She holds out hopeless hope.

JOHN: I'm fine, Mom. MILLIE: The Hell you are. You've been chasing your dad since he walked out that door. I know that's why you enlisted. But it is time to let the past go, kiddo.

But Millie isn't healed either. She hasn't let the past go, even as she pursues her dream of being a mechanic and owning a garage (like her father). Letting the past go hasn't helped her heal.

In fact, carrying on hunting and the MoL business is what seems to soothe her loss, giving her new meaning and purpose. Millie and John's push-pull dynamic with hunting is much like how it was with Ellen and Jo Harvelle.

///

But overall, we see what Henry's absence wrought. It's just as Henry feared in SPN Prime (9x17 Mother's Little Helper):

HENRY: Therein lies the problem. As our initiation grows closer, I... I worry that this might be a selfish endeavor on my part. JOSIE: Selfish. How? HENRY: If anything were to happen to me, what of John? Millie? JOSIE: They'd be proud to know that you answered the call. HENRY: No. My wife would be a widow, and my son fatherless. I don't expect you to understand. You don't have a fam--[he pauses] I'm sorry, Josie. I didn't mean it that way. JOSIE: I know, Henry. You're a good man. Millie is lucky to have you.

This directly parallels Cas and his allegiance to his work, Heaven, (Heaven is a truck, and Cas is a truck-driver; Dean thinks he's Josie when he's actually Millie).

It also beings to mind the visual of ("little John") Jack's entrance as he wanders around muttering, "Father. Fa-ther. Father. I need to find him. Castiel. He was supposed to be here," while looking for his long-expected, lost father in 13x01 Lost and Found.

But it's also an off-key parallel to prime John, who would become as Millie was, a bereft widower in the cold, floundering and ill-equipped to handle the dangers of the supernatural world.

///

Enter Mary, Action Hero

(Note: Mary's got a short range, so I love how she uses speed to her advantage to get larger targets off-balance.)

///

And importantly, John...is NOT allowed to look cool. It's a RULE. He's a dorky...little...guy.

Mary knocks the demon into a blessed holy water vat, a call-forward to something prime John will do in SPNprime 01x21 Salvation.

When Alt John and Alt Mary meet:

Mary's father has been absent (missing) from her life for a short time, and John's father Henry has been absent for most of his life, just as when Dean and Cas meet, theirs too is a tale of missing fathers. Cas's father was absent for all of his life, and Dean's flaky dad has been gone for a (relatively) short time. It also very obviously parallels Sam and Dean searching for their missing father.

When they break inside the Men of Letters clubhouse, Mary keys into John's emotions about his father. This reminds me of of the first time Dean keyed in really hard to Cas's emotions in 5x16.

///

JOHN: How do you cope with it all? MARY (wryly, jokingly): I'll let you know when I find out. (SPNwin 1x01)

DEAN: Yeah, I get it. I know how you feel. CASTIEL: How do you manage it? DEAN (wryly, jokingly): On a good day, you get to kill [The Whore of Babylon]. (SPN 5x17)

///

Recent losses of friends & family:

Additionally, Mary and John have both suffered recent losses. Mary lost her narrative twin Maggie, and John lost his comrade Murph to war.

[Mary's cousin went to Hell, just as Sam's brother went to Hell in season in vintage and mid-SPN.] Mary's hunting family was torn asunder, parents separating.

And John? WIth war, John signed up to fill a void left by his father, to find meaning in life.

We can even recall Dean's words to Gordon in 2x03 Bloodlust, how Dean struggled with the idea of "The Invincible Dad" and how his death made the word more terrifying, how it left a wound of depression inside of him that he sought to fill with meaning through work:

DEAN: Yeah. Yeah, you know. He was just one of those guys. Took some terrible beatings, just kept coming. So you're always thinking to yourself, he's indestructible. He'll always be around, nothing can kill my dad. Then just like that (snaps) he's gone. I can't talk about this to Sammy. You know, I gotta keep my game face on. (clears throat) But, uh, the truth is I'm not handling it very well. Feel like I have this - GORDON: Hole inside you? And it just gets bigger and bigger and darker and darker? Good. You can use it. Keeps you hungry. Trust me. There's plenty out there needs killing, and this'll help you do it. Dean, it's not a crime to need your job.

Dean lost his dad, and Gordon lost his sister. This emptiness is depression. John lost his dad and suffered that loss all his life. He signed up to the war for the GLORY OF PURPOSE. He didn't sign up to the war for more pain and grief, but that's exactly what he got.

What's the thing Dean can't fill up, not with booze or love or even sex? It's grief and pain. It can only be filled with love, which is what Cas's confession narratively does in 15x18.

It's also what Mary's love and the love of the Core 4 will eventually do for John.

///

SPN Prime season 8 side-parallel: Connections of recent grief ALSO calls to mind season 8, how Sam connected with Amelia when they had both suffered a loss, Sam lost his narrative twin to Purgatory and Amelia lost her husband to war.

Theirs was a fast-paced reactionary relationship born of grief, something that pinged and annoyed Amelia's father, leading him to be very passive-aggressive with Sam. (Her father was a dick, but he's both a soldier himself and does know her best and probably has her best interests in mind. He recognized that was Amelia mid-freakout, OOC. He pings that her out-of-characterness is a weird reaction to grief).

He was right to be concerned about the shallowness and stability of it. These types of reactionary relationships are well-known: they can be very shaky, melodramatic, idealized, and weak when stress-tested.

Sam (and vintage Dean) both have this tendency to be all-in or all-out when it comes to The Cause. Neither strike a balance very easily. They tend to either be ALL IN for the Perfect War with Perfect War Companions at Your Side...or rushing into something tenuous that represents a weak idea that winds up unsatisfying because it's not genuine: Perfect White Picket Fence or Howling-at-the-Moon Dishibitory Party Life.

In SPNwin, John is doing a lot of running, too. He rushes into the thing with Betty (weak and tenuous), then he rushes into war, he rushes into hunting, and he runs into the relationship with Mary.

This theme of Running into Danger / Running From Danger persists. John certainly struggles with it, BUT in a departure from his past behavior, this new thing with Mary gets a lot of stress-testing, eventually moving from limerence into turbulence, power struggle, and de-idealization. (SPNwin 1x12, The Tears of a Clown)

///

SO.

Mary and her ragtag gang of friends embark on a journey to look for the missing Samuel Campbell the way Sam and Dean look for the errant John Winchester, the way the Banes twins look for their mother Tasha Banes in Twigs, Twine, & Tasha Bane.

Certainly the core 4 are all "running scared" and clinging to one another, having all lost loved ones in a variety of ways. They are united in empathy over their respective losses:

John (dad, comrades)

Mary (narrative sibling, missing dad, splintered family and parental separation)

Carlos (whole family killed by a monster)

Lata (no-contact with her family because they allowed her beloved nanny to die; nonsensical/cruel hierarchy of human society)

Ada (husband lost to madness, son potentially a puppy-destined-to-be-wolf)

And finally we get Henry's letter:

If you're reading this, then I'm gone. I'm sorry I kept the truth from you, John. There's a dangerous world out there, and our family has fought that danger for centuries. The answers to all your questions are at the address below. I love you and your mother. Always.

I think this idea of Henry Winchester as a secret-keeper, and as Mary-prime as a secret-keeper fed into what we know about John-prime turned into: a neuroses of paranoia and over-preparedness.

But thanks to Dean, Alt John has some new tools to work through this: knowledge. Even his anger is useful, openly telling his mother how disappointed and betrayed he feels over being kept in the dark. For her part, she gives him her emotional truth: that she only wanted to protect him.

It's the first healing step for both of them.

#writer robbie thompson #director glen winter #millie winchester #henry winchester #john & millie #henry cas parallels #john cas parallels #john sam parallels #millie dean parallels #john jack parallels #josie sands #lata #alt john #prime john #prime dean #prime cas #alt mary #amelia richardson #spnwin 1x01

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