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Learn moreThe tower has fallen. Survivors are scattered, scrambling to find safety and each other. The rest of the world comes into view as the threats continue to evolve. Elements of strength and hope start to emerge—but at what cost?
We're Alive: Season 3 features twelve chapters packing performances and sound effects that rival movies and prove that modern audio drama is undead and well. Join our survivors as they band together, struggle to fortify a safe haven, and discover that zombies are far from the worst thing in a postapocalyptic world where the rules of human decency no longer apply.
Little food, little water, little hope—who is lucky enough to say, "We're alive"?
Kc Wayland studied both acting and film theory and production at Orange High School’s media arts program and graduated with the Principal’s Medallion. He also won its Award of Excellence in Arts and Best Student Editor in 2001 and worked as a cinematographer on a video poem entitled Blue Doll, a short that went on to play at the Sundance Film Festival. He has produced numerous short films and a documentary about his journeys overseas after enlisting in the army. This feature-length film won Best Documentary at Chapman University in 2005, Best Student Documentary in the Big Bear Lake International Film Festival in 2006, and Best Student Film at the Tiberon International Film Festival. He currently works at Dodge College of Film and Media Arts as the digital applications specialist. In his time away from work, he continues to write, produce, edit, and direct the award-winning audio-drama serial We’re Alive.
Reviews
“We’re Alive is a modern rendition of an old-school medium. Maintaining a style that is both retro and contemporary, the radio drama will give horror fans the campy, kitschy style they like, but it also provides a variety of characters and development to keep general audiences engaged…Despite not being able to see the action, the excitement and intensity is still sustained through score and sound design. In some ways, the lack of visuals to accompany the audio creates more suspense. The narrator controls how much the audience knows, slowly teasing out information. Accompanying the drama are sparse moments of comedic relief…Expressing a keen awareness of the zombie subgenre, many of the jokes come from familiar scenarios and tropes of zombie stories.”
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