Hello and welcome! Come closer! My name is Joseph Sale, author and editor and Storgy contributor of yore. Sometimes I’m called The Mindflayer by those who know my true form, and today I’m here to tell you about a new venture in need of your help. Ah, yes, you’ve tried to step away but now
Once, a long time ago, a writer known as Nate Crowley foolishly decided to tweet a fake video-game premise for every Twitter-like he received. A thousand likes later (and with thousands of pounds donated to a charity to preserve frog habitats), he found himself with a book deal and a mission to cull the best
We’ve got another exciting promo video for our hotly anticipated EXIT EARTH Anthology. Today we’re looking at Joseph Sale’s ‘When the Tide Comes In.’ Three friends seek love and refuge on a beach beneath the bombs. EXIT EARTH delves into dystopian worlds and uncovers some of the most daring and original voices in print today.
Phone. Is this a noun or a verb? Is it labelling what has become a common household object, a daily tool so enmeshed in our lives that we no longer notice its presence? Or is it, rather, giving an imperative? Phone him. Phone her. In the answer to this question may lie much of the
Horror is arguably the only genre defined by an emotion, a sensation. And good Horror, whether it be supernatural, psychological or otherwise, must make us feel. Of course, all good writing should make us feel something, but with Horror, there is a particular import to this. The burden of eliciting emotion in the reader falls
Luke Kennard’s The Transition is a striking insight into our calamitous present: the impossible, crushing economic mill-wheel, the disenfranchised generation, and, perhaps most sinister of all, the disintegration of artistic integrity beneath the corporate schema. Though I can’t pretend to know the future, I imagine that The Transition is a startlingly prescient novel – at
Guardians of the Galaxy Vol. 2 was easily one of the most fervently anticipated films of 2017, and almost certainly the most anticipated Marvel film of the year. It’s easy to see why. The original charmed us with its quirky ‘70s and ‘80s discography, its cast of loveable rogues and its lean towards comedy over
Void Star is, quite simply, an epic of cyberspace. Building on the foundations laid by William Gibson in his cyberpunk masterpiece Neuromancer, Zachary Mason propels his reader into a futuristic world moulded by anti-ageing clinics, disintegrating cityscapes, drones, implants, dangerous networks, AI, and secret corporations. But what is truly impressive about Void Star, above its
‘A river of Thousand Island dressing springs from my Hawaiian burger and plunges earthwards, a swollen pink torrent raging through the middle of my Stone Roses T-shirt. I care not.’ From this outrageously indulgent first line begins Skintown: a staggering accomplishment in fiction, though not without several major flaws. Everything you need to know about
The unspoken laws of the universe determine that just when we think something is dead and buried, it comes lurching back to life with renewed vigour, or, in the case of Get Out, soaring into a new stratosphere. Horror, while still an eminently profitable business, has been out of mainstream for quite some time. Gory
